
Class x ___ 

Book .jlU^L 



THE 



ELEMENTS OF DRAUGHTS; 



OB, 



BEGINNERS' SURE GUIDE: 

CONTAINING A THOROUGH AND MINUTE EXPOSITION OF EVER! 
PRINCIPLE, SEPARATELY EXPLAINED : TOGETHER WITH 

MODEL GAMES, 

ILLUSTRATIVE OF ALL THE OPENINGS. 

ILLUSTRATED BY DIAGRAMS: 

IXHTBITING CRITICAL POSITIONS, TO BE WON OR DRAWN BI 
SCIENTIFIC PLAY. 



-ki 



I. r>. J. SWEET, 



DRAUGHT EDITOR OB" THB NEW YORK " CLIPPER* 



NEW YORK. 
ROBERT M. DE WITT, PUBLISHER, 




or* 



Entered, according to Act of Congress, in t, year 2859, by 
ROBERT M. DE WIT 
frthe Clerk's Office of the District Court of the United States for I 
Southern District of New York. 



W. H. Tisso.v, Htereotypar. 



PUBLISHER'S NOTICE. 



The rapid and steady demand for the previous edition 
of the " Elements of Draughts," and the unanimous 
approval which has been accorded by the highest author- 
ities, must be the apology of the publisher for indulging 
in a pardonable exultation over its absolute success. If 
proof were requisite that ability coupled with conscientious ear- 
nestness, must command entire success; it has been abundant- 
ly furnished for the past twelve years. In an article which 
appeared in " Bell's Life in London," Mr. Geo. Walker 
expresses the opinion that the " Elements of Draughts ; 
or, Beginners' Sure Guide, is the best elementary treat- 
ise ever written on the game." This is high praise — but 
it is fully merited. In conclusion, it is sufficient to affirm 
that the merits of this book will force it into public notice, 
and an examination of its pages will compel the conclusion 
that the promises of its title-page and aspirations of its 
preface, have been more than realized. 
New York, 1872. 

Entered according to Act of Congress, in the year 1859, by 

ROBERT M. DE WITT, 

In the Clerk's office of the District Court of the United States for 

the Southern District of New York. 



PREFACE. 



Reader, we have no apology to offer for the following 
pages — but a motive to explain, which (if we mistake not) 
will fully warrant their appearance. This motive is simply 
to teach you how to master and comprehend the principles 
of the beautiful and scientific game of Draughts. We might 
here give you a catalogue of all the eminent names con- 
nected with the game ; but forbear, because this is not what 
you need. Rather suffer us to take you by the hand, and 
passing first through the surface, we will finally penetrate to 
the centre of this fascinating study. Where is the boy who 
does not remember the delight that he experienced in learn- 
ing to "play Chequers," and yet how few have learned to 
play anything better than an indifferent game ? One fruit- 
ful source of hindrance to the advancement of the beginner, 
is the ridicule of a peculiar class of players, who, having a 
moderate degree of strength (acquired by long practice), 
uniformly make a " dead set " at all " book players." You 
are to pay not the least attention to the remarks of this 



IV 



Preface. 



class of players, who are, at best, only a third raters," and 
consequently can never make you acquainted with the higher 
beauties of the game. 

Since our connection with the Draught-playing organ of 
the United States (The New York Clipper), it has been our 
constant aim to encourage and instruct the beginner. Our 
efforts have been abundantly repaid : for within the period 
of four years, thousands who learned their first lesson in the 
Draught column of the Clipper, are to-day able to " lay out " 
(beyond redemption), the whole army of "book" opposers. 
Beginners, the following pages are indited with the object 
of enabling you to become masters of the game ; and in 
accomplishing this, all other desirable objects will be se- 
cured : for we shall thus furnish a repast which cannot fail 
to tempt the appetite of the finished player. In conclusion, 
let me entreat of the reader to examine carefully the games 
which are given in the latter portion of the present volume. 
Being the results of the highest order of play, their contem- 
plation will tend to advance you rapidly, as well as to im- 
press you with a deeper and truer love for the game. The 
" Theory of the Move and its Changes," together with the 
" Improved System of Numbering the Board " (both articles 
by Mr. Paterson, of Scotland), are perfect gems. Should 
success keep pace with the sincere desire to instruct, I shall 
consider myself amply repaid for the toil of preparing this 
volume. 

I. D. J. Sweet. 
NbwYobk,1859. 



CONTENTS. 



Elements* 

Facm 

Arrangement of Board and Men, with Diagram 8 

Explanations of the Board and Pieces 9 

Object of each Player 11 

Board Numbered, with Explanations of the Same 12 

Object of Numbering the Squares 13 

Method of Moving the Men IS 

Of Captures 14 

What constitutes a King ; Crowning, etc 15 

Drawn Game, 16 

The Move 17 

Double Corners 20 

The Standard Laws of the Game.... 20 

The Author's Advice to Young Players 24 

The Openings 26 

Preliminary Game for the Instruction of Beginners, with numerous 

Explanatory Notes 80 

End-Games, accompanied with Diagrams, showing the different 

Methods of Winning or Drawing the Game 35 

Stratagems, being a Description of different Positions usually occur- 
ring in the Game of a Novice ; illustrated by Diagrams 40 

Draught Problems selected from the New York Clipper, with 

Solutions 47 

5 



vi Contents. 

Games. 

Pags 
GAME I. 

Prom Anderson's Work, Published with Notes in the Clipper about 
two years since, 54 

6AMB 15. 
Played between Messrs. Mercer and Spay th 56 

GAME III. 
" Ayrshire Lassie," with Analysis 56 

GAME IV. 
"life" Opening, with Notes 67 

GAME V. 
Illustrating the " Suter," as played by Messrs Fuller and Hodges. . 59 

GAME VI. 
" Single Corner," as played by Messrs. Drysdale and Mercer 60 

GAME VII. 

"Whilter." By H. Spayth, Esq. Dedicated to Andrew Anderson, 
Champion of Scotland 61 

GAME VIII. 

" Old Fourteenth," as played by Messrs. Bray ton and Sweet 63 

GAME IX. 

Blindfold Game between •' Apollo " and " Harry Leseme " 63 

GAME X. 

"TheOross." By "Hamilton" 64 

GAME XI. 

" Bristol." From Anderson's Work, with Analysis 65 

GAME XII. 

tl Maid of the Mill." Played between Messrs. Hodges and Mercer. 6T 

GAME XIII. 

11 Glasgow," with Notes 68 

GAME XIV. 
Irregular Opening. By Mr. Tarbell, of New York, who is blind I . . 69 



Contents. vii 

Pags 
GAME XV. 

"Laird and Lady" 70 

GAME XVL 

"Second Double Corner." Match Game between Anderson and 
Wylie 71 

GAME XV1X 

Wylie's 18thGame 72 

GAME XVIIL 

The " Whilter," as played by Mr. Dutton and a friend 78 

GAME XIX. 
The "Cross." Played between "Martin," of Boston, and an 
Amateur 74 

GAME XX. 
" Single Corner." Played between " Harry," of Buffalo, and Mr. 
Jenkins 75 

GAME XXI. 

" Double Corner." Dedicated to " Martin," by " Harry." 75 

GAME XXII. 

"Single Corner." Wylie 77 

GAME XXHX 
" Ayrshire Lassie," being a Game in a Match between Messrs. WylU 
andPrice, for £50 a side 78 

GAME XXIV. 

The "Whilter." Anderson 79 

Theory of the Move, and its Changes 81 

Paterson's System of Numbering the Board. 98 

Demonstration of Payne's Rule 104 

Playing Tables of one of the Glasgow Draught Clubs 105 

General Rules for Play 106 

Stanzas 107 

Closing Remarks 108 



The game of Draughts is played on a board of sixty -four 
squares of black and white, by two persons, with twenty- 
four pieces of different colors : 

Diagram I. 
DRAUGHT BOARD AND MEN 

BLACK. 




WHITE. 

Arrangement of men for play* 



THE 

ELEMENTS OF DRAUGHTS; 

OR, 

BEGINNERS' SURE GUIDE. 



CHAPTER I. 

EXPLANATIONS OF THE BOARD AND PIECES. 

By observing the diagram (p. 8) the student will at once 
perceive that it is composed of sixty-four squares of black 
and white ; and also that there are twelve black spots placed 
upon the three upper rows of white squares. The three 
lower rows of white squares will be observed to be occu- 
pied by circles which represent the white pieces or men, as 
they are generally termed. By looking again you may ob- 
serve that the board is so arranged that we have a black 
square on the lower corner at the right hand. This is the 
proper arrangement when the pieces are placed on the white 
squares. When the black squares are used, the order is 





io The Elements of Draughts; 

changed, and we find a white square at the lower right-hand 
corner, thus : 



Diagram II. 



BLACK. 


i B 11 ■ 1 


m wm ph . m 
i i 1 J I II 


■ ■ ■ ■ 


■ ■ B fl 


■ ■ B H 
■1 I I II lag 


BBS B 



WHITE. 



Thus you see we have now a white square at the right ; 
and the men should now be placed upon the black squares. 
Observe in this case, that the relative positions of the men are 



or, Beginners' Sure Guide. 11 

not changed; but chat the color of the squares is altered 
from black to whLe. It being a mere matter of taste as re- 
gards the color of the squares, it follows that in some parts 
of the world one color is chosen, and in others its oppo- 
site. Thus, in England, the white squares are used (as re- 
presented in Diagram I.,) while in Scotland, as well as the 
United States, the men are placed on the black squares. 
One reason for representing them on the white is simply 
because it is more convenient to thus represent them, as 
types for so doing are more easily procured. The words 
black and white, which have their respective places above and 
below the board, are evidently so placed to describe the 
colors of the men on their respective sides. We next come 
to the object of the players, which we will now proceed to 
define. 



CHAPTER II. 

OBJECT OF EACH PLAYER. 

The final object of each player is to either capture all of 
his opponent's men, or so confine them that they are not 
capable of being moved ; and the one accomplishing this 
first, wins the game. We next come to examine the powers 
and movements of the men; but before so doing, it will be 
advantageous to give a diagram representing the board 
numbered, thus : 



12 The Elements of Draughts; 

BOARD NUMBERED. 
Diagram III. 

BLACK. 



I 1 ! 2 ! 3 !' 


*H'B'fl 8 H 


9 II 10 |H 11 | | 12 


13 I! U | I 15 11 16 H 


B n p is g io y 20 


21 II 2f [ 1 23 [I 24 |'T 


|f 25 j| 26 || 27 §§ 28 


29 f 1 30 J | 31 1 | 32 1 



Explanation of the Board Numbered, 

By referring to the diagram above, we perceive that the 
upper white square at the left side is occupied by the figure 
1. Running the eye along the upper row of squares, we 
observe that they are respectively numbered 1 2, 3, 4. 



j£ 9 Beginneis' Sure Guide. 13 

Commencing back, exactly a<s in reading the lines of a page, 
we find next below at the left, 5. We may now proceed in 
!ike manner until we arrive at number 82, which is the last. 

TIi© Object of Numbering the Squares. 

' ^ -"■• 'tone fox th<* re*' pose of recording the moves, 
wiiiuii ic wouia oe impossiDie to achieve without connecting 
some symbol with the square, and thus being able to retain 
it in the mind. The importance of this arrangement will be 
perfectly comprehended when you are made acquainted 
with the manner of moving the men, of which we next 
proceed to inform you. 

The Method of Moving the Men* 

The first move is (or ought to be) determined by lot, and 
each player moves his men from his own side of the board, 
and consequently toward the side occupied by his antagonist. 
The one moving, must first move one of his men occupying 
the third or farthest row from himself, placing it on the 
square in the next row bryond. This square must be of the 
same color as the one occupied by the man before he has 
been moved, which you will perceive causes the course to be 
diagonal ; or varying from right to left, as the case may be. 
Observe : no man can be placed on a square already occupied, 
either by your own or your adversary's man. For the pur- 
pose of illustrating the principle of moving, let us refer to 
the " diagram numbered." Supposing the black men to 
occupy the uppor side of the board in all cases, we find thai 
they occupy the squares from 1 to 12. The white men are 
seen to be placed from 21 to 32. 

Now, suppose the white men are to be played first. As 
has already been intimated, we must move to a square 
2 



14 The Elements of Draughts; 

which is unoccupied; consequently we must move one of 
the men in the third row, counting from the outside of 
White's side of the board. The men in this row will b© 
found to occupy the squares numbered 21, 22, 23, and 24. 
Now, suppose you are playing the white men, and make up 
your mind to move the man on number 21, you can only 
move him to 1*7, which you will perceive is one square for- 
ward on the same color. Should you first move the man on 
22, you could place him either on 1*7 or 18, at your option; 
as you may move either to the right or left, provided you 
only move one square on the same color. If Black plays 
first, and moves the man on 12, he can only go to 16. But 
if the man on 11 be first played, it may be played either to 
16 or 16. It is, perhaps, unnecessary to add that each 
moves alternately. 



CHAPTER III. 

OP CAPTURING YOUR ADVERSARY'S MEN. 

By capturing, is meant removing your opponent's man or 
men from the board. There are two conditions affecting 
capture. The first is that by which you remove your oppo- 
nent's piece, when it is exposed to your own. Suppose you 
have a man on number 18, and your opponent's man stands 
on number 15, and.it your turn to move, you may pass over 
his man with your own, placing yours on number 11, and 
remove hi3 man. 

Had you neglected to do so, he might have taken your 
man for such neglect, which is called " huffing," and consti- 
tutes the second condition of capture. It is, however, op- 



or, Beginners' Sure Guide. 15 

tional with your opponent whether he take your man or force 
you to pass over, taking his. If. after capturing one man, 
another or any number of them are exposed in like manner, 
you are obliged to capture them all, by passing over them to 
the square next beyond, should your adversary require you 
so to do. If, however, you fail to perceive that so many 
were exposed, and "complete your move" (which is the 
case when you let go of your own man) ; your adversary may 
take advantage of such oversight, by allowing you only to 
remove such pieces as you have passed over. In playing 
these exercises and games, you should take a piece of chalk 
and number your board. In a very short time you will learn 
their locality, when this will no longer be necessary. Now, 
suppose you place a white man on number 29, leaving the 
other squares on your side of the board empty. Place now 
black men on number 25, another on 18, and a third on 
number 11. White having the move will pass over from 29 
to 22, then from 22 to 15, and lastly from 15 to 8. You 
may now remove all three of the black men. Again : sup- 
pose you have a white man on number 20, and your oppo- 
nent has black men on numbers 16 arid 1. Suppose these 
to be all the men on the board, and that it is your turn to 
move, you will pass over both of his men and place your 
man on number 2. By thus placing your man in your oppo- 
nent's first row, he acquires a new and increased power, and 
is termed a King. 

Wliat Constitutes a King. 

We have already remarked, that whenever one of your 
men reaches your adversary's first row, it becomes a King. 
This row is called the King-row. ^- A Black King is re- 
presented thus, g gi a White one thus y|| 



16 The Elements of Draughts; 

Of tlie Powers of a King. 

A single man (each piece being so called before entering 
the King-row) can only move forward, as you will remember, 
whereas a King can move both forward and backward, which 
gives him an advantage at once important. A capture (or 
set of them, as the case may be), constituting a move, it 
follows, that if a single man capture a piece and alight in 
the King row, should another of the adversary's men be 
exposed, he cannot be taken until your opponent has moved. 
We wish particular notice to be taken of this fact, as a ques- 
tion often arises on this point. To make sure, we will give 
an example. Place a white man on number 25 ; on numbers 
22, 14, 6 and 7 black men ; and white to move. He jumps 
(as it is termed) over three of the black men, finally stopping 
at 2, and becoming a King. He must now allow Black to 
move. Black may now move off of 7, and thus preserve 
his man. 

Crowning a King: How Performed. 

Whenever any of your men have reached your adversary's 
King-row, he must place one of your pieces on top of it ; 
this is called " crowning," and is done for the purpose of 
distinguishing it from a single man. 

Brawn Gaine. 

This is when neither party can win. It generally occurs 
when t'le forces are quite reduced. 



or, Beginners' Sure Guide. 17 



CHAPTER IV. 



THE MOVE. 



In the following chapter you will be instructed regard- 
ing the "move," as it is called. We have purposely 
refrained from giving a lengthy exposition of this subject, 
believing that too much may be attempted in an elementary 
treatise. Those who may desire to investigate the subject 
farther are referred to Anderson's treatise, containing the 
"Theory of the Move, and its Changes," by Mr. John 
Paterson, of Scotland. 

" To have the move signifies your occupying that position 
on the board which will enable you to force your adversary 
into a confined situation," giving you the last move, which 
will, in most cases, pin or fix his man in such a position that 
he cannot be moved without being subjected to capture. To 
illustrate: suppose a black man on number 11, and a white* 
man on number 24, and that it be White's turn to move — by 
going to number 19 he arrests the progress of Black, for he 
cannot move further without being captured, so that White 
has the move. It is sometimes an advantage to have the 
move, and sometimes the contrary ; a fact which your expe- 
rience will establish. We give the following rule, which will 
enable you to determine whenever any one of your men has 
the move of that of your antagonist. Rule: Examine the 
position of both, and if you find a square of a different 
color from those your men stand upon, standing in the right 
angle under his man, and it be your move, you have the 



i8 The Elements of Draughts; 

move ; if not, the reverse. To illustrate : suppose a black 
man on 4 and a white one on 29, thus : 



Diagram IV. 

BLACK. 



m 


j 


i 


y 


■ 


Bi 


: 


* 
j 


■ 

■ 


w 


I 

■L 

1 


i m 
■ 

ii 


■ 


j 


■ 


U 


H 


H 


■ 


3 


■ 


9 

LI 


H 


^ 


9 


m 




■ 


1 


i m 



White to Move. 

Cast your eye at the lower right-hand corner of the board 
and you find the corner square of a different color from 
those upon which the men are placed ; you will also perceive 
that this corner square is ia the right angle. Whenever the 



or, Beginners' Sure Guide. iq 

men are placed you hare only to produce a line toward the 
opposite side of the board in both cases, and the point of 
intersection will be the angle square. 

Exception to the above Rule. 

When it so happens that the men both stand upon the 
same row of squares, a3 shown in the annexed diagram, we 
must produce the lines diagonally until they cross each 
other, at which point we shall find the angle square thus : 

Diagram V. 

BLACK. 




20 The Elements of Draughts ; 

Here the angle square is number 15, which you observe is 
of the same color as those upon which the men are placed, 
consequently the rule is reversed, and the one who first 
moves has not the move, of which fact you will soon 
become aware by examining. Those who may wish to pur- 
sue this subject to a greater length, would do well to con- 
sult the treatise of Anderson, where they will find an elabo- 
rate and beautiful explanation, by Mr. John Paterson, of Scot- 
land, termed the " Theory of the Move, and its Changes," 
which we mentioned at the close of the last chapter. 

Double Corners* 

Numbers 1 and 5, 28 and 32, are respectively termed 
" double corners." An examination of their situations will - 
satisfy the student that they are appropriately so called. 



CHAPTER V. 

THE STANDARD LAWS OP THE GAME. 
(From Anderson's Treatise.) 

1. The standard board must be of light and dark squares, 
not less than fourteen inches, nor more than fifteen across 
the squares. 

2. The standard men, technically described as White and 
Black, must be light and dark (say white and red, or white 
and black), turned, and round, not less than one inch nor 
more than one and one-eighth inch in diameter. 



or. Beginners' Sure Guide. 21 

3.* The board shall be placed so that the bottom corner 
square on the left hand shall be black. 
4.f The men shall be placed on the black squares. 

5. The black men shall be placed on the real or supposod 
first twelve squares of the board ; the white upon the last 
twelve squares. 

6. Each player shall play alternately with white and black 
men, and lots shall be cast for the color only once — viz., at 
the commencement of a match, the winner to have the 
choice of taking black or white. 

*7. The first play must be invariably made by the person 
having the black men, and that alternately until the close 
of the match. 

8. Time. — At the end of five minutes (if the play has not 
been previously made), time must be called by the person 
appointed for that purpose, in a distinct maimer, and if the 
play be not completed on the expiration of another minute, 
the game shall be adjudged to be lost through improper 
delay. 

9. When there is only one way of taking one or more 
pieces, time shall be called at the end of one minute, and if 
the play be not completed on the expiration of another 

* After substituting the word White for Black, these two laws become 
binding upon the players of any place where it is customary to play on 
the white squares. 

t As red and white men show a beautiful contrast, it is desirable to 
chcose these in preference to any others ; and if they be placed on the 
black squares, they will appear to greater advantage than white and 
black men upon either black or white squares ; for, if in this way a 
piece cannot be placed (as in each of the other ways) upon a square of 
its own color, while at the same time there is a sufficient distinction 
between the men. We do, therefore, recommend the universal use of 
red and white m^n upon the black squares. 



22 The Elements of Draughts ; 

minute, the game shall be adjudged to be lost through 
improper delay. 

10. After the first move has been made, if either player 
arrange any piece, without giving intimation to his oppo- 
nent, he shall forfeit the game ; but if it is his turn to play, 
he may avoid the penalty by playing that piece, if possible. 

11. After the pieces have been arranged, if the person 
whose turn it is to play, touch one, he must either play it or 
forfeit the game. When the piece is not playable, he for- 
feits according to the preceding law. 

12. If any part of a playable piece be over an angle of 
the square on which it is stationed, the play must be com- 
pleted in that direction. 

13. A capturing play, as well as ordinary one, is com- 
pleted whenever the hand has been withdrawn from the 
piece played, even although one or more pieces should have 
been taken. 

14. The huff or blow is to remove from the board (before 
one plays his own piece) any one of the adverse pieces that 
might or should have been taken. But the huff or blow 
never constitutes a play. 

15. The player has the power either to huff, compel the 
capture, or let the piece remain on the board, as he thinks 
proper. 

16. When a man first reaches any of the squares of the 
opposite extreme line of the board, it becomes a King; and 
can be moved backward or forward as the limits of the board 
permits, though not in the same play, and must be crowned 
(by placing a man on top of it) by the opponent ; if he 
neglect to do so, and play, any such play shall be put bach, 
until the man be crowned. 

17. Either player making a false or improper move, shall 



or, Beginner's Sure Guide. 23 

instantly forfeit the game to his opponent without another 
move being made. 

18. When taking, if either player remove one of his own 
pieces, he cannot replace it ; but his opponent can either play 
or insist on his replacing it. 

19. A draw is when neither of the players can force a 
win. When one of the sides are stronger than the other, 
the stronger party is required to win, or show a decided ad- 
vantage over his opponent within forty of his own moves, 
to be counted from the point at which notice was given ; 
failing in which he must relinquish the game as drawn. 

20. Anything wh ich may tend either to annoy or distract the 
attention of the players is strictly forbidden, such as making 
signs or sounds, pointing or hovering over the board unne- 
cessarily, delaying to move a piece touched, or smoking. 
Any principal so acting, after having been warned of the 
consequence, and requested to desist, shall forfeit the game. 

21. While a game is pending, neither player is permitted 
to leave the room without giving a sufficient reason, or re- 
ceiving the other's consent or company. 

22. Either player committing a breach of any of these 
laws, must submit to the penalty, and his opponent is 
equally bound to exact the same. 

23. Any spectator giving warning either by sign, sound, 
or remark, on any of the games, whether played or pending, 
shall be expelled from the room during the match. 

24. Should any dispute occur, not satisfactorily determined 
by the preceding laws, a written statement of facts must 
be sent to a disinterested arbiter having a knowledge of tho 
game, whose decisicn shall be final. 



24 The Elements of Draughts; 



CHAPTER VI. 

THE AUTHOR'S ADVICE TO THE YOUNG PLAYER. 

1. Provide yourself with a board of the proper size (which 
you will find described in the laws), also a set of men. By 
all means avoid playing with pieces of leather, beans, corn, 
etc., if possible, as you need the aid of proper apparatus to 
begin with. 

2. Study the laws thoroughly, and in all cases abide by 
them when you play, as well as insist upon your opponent's 
doing the same. If you neglect this you need not expect to 
become a first-rate player. You will find many opponents 
who will object to your forcing them to exchange pieces, 
you having the greater number. They will insist that " it 
isn't fair," etc. Pay no sort of attention to this twaddle, as 
ail such objectors are deplorably ignorant of the spirit of 
the game. The object of playing is to win, and when you 
can do this, and at the same time observe the laws of the 
game, why do it ; and, should your adversary be too tender- 
hearted to submit, let him pass for "higher game." 

3. Remember that you should have a motive for every 
move you make, as well as to try to ascertain that of your 
opponent. So much depends upon the observance of these 
conditions, that you may rest assured that no considerable 
skill can be attained by the player who neglects their 
observance. 

4. Never play when you are " in a hurry," nor never be 
in a " hurry " for your opponent to play. Avoid this species 



or, Beginners' Sure Guide. 25 

of fidgeting as you would some impending evil. While your 
opponent is calculating, why not do the same ? and then he 
can have no advantage, so far as time is concerned. 

5. Do not attempt to play M fine," but rather make sure 
of your game. Should you fancy that you can cripple your 
opponent by a certain line of play (if your course be not 
perfectly clear), look it over at least four times, and our 
word for it, you will (in three cases out of four) discover 
that you had overlooked some important fact ; and you con- 
sequently were mistaken. This is worth treasuring up. 

6. Win with modesty and lose with composure if you can. 
By so doing, your victories will be of a purely mental char- 
acter, and not the result of fortunate blunders on your own 
part, or of the unfortunate ones of your opponent. The 
game of draughts being a scientific and an intellectual exer* 
cise for the mind, should not be treated with vanity, excite- 
ment, or conceit. 



CHAPTER VII, 



THE OPENINGS. 



By " openings," we mean a few leading moves on both 
sides, at the beginning of a game, these moves being uni* 
versally admitted to be the best in that u opening." We shall 
classify these according to the system of Mr. Anderson, the 
champion draught player of the world, as well as the author 
of the finest treatise on the game which has ever been pub- 
lished (we being judge). As the limits of our work will not 

8 



26 The Elements of Draughts; 

permit us ^o extend the examination of these to any consid- 
erable length, we would advise the student to procure 
Anderson's work. 

We will first examine what is termed " Old Fourteenth," 
so called from its being the fourteenth game in the original 
work of Joshua Sturges, an eminent player as well as author 
of the game. It is formed by the first five moves, counting 
both sides, thus : 

BLACK. WHITE. 

1. 11 to 16. 23 to 19. 

2. 8 " 11. 22 " 11. 

3. 4 " 8. 

It leads to some of the most interesting and critical com- 
binations which the board and men are capable of producing. 

We next come to the " Ayrshire Lassie." It is formed 
by the first four moves, thus : 

BLACK. WHITE. 

1. 11 to 15. 24 to 20. 

2. 8 " 11. 28 " 24. 

We next come to " Fife.'* This is formed by the first five 
moves, thus : 

BLACK. WHITE. 

1. 11 to 15. 23 to 19. 

2. 9 " 14. 22 u 11. 

3. 5 " 9. 

It has been so called since Mr. James Wylie played it 
against Mr. Anderson, in Edinburgh, Scotland, in 1847. 

Next in order comes "Defiance," and this opening is 
formed in four moves, thus : 



or, Beginners' Sure Guide. 27 

BLACK. WHITE. 

1. 11 to 15. 23 to 19. 

2. 9 " 14. 21 " 23. 

It was called defiance because it defies or prevents the for- 
mation of the " Fife." 

The u Glasgow " is formed by the first five moves, thus : 

BLACK. WHITE. 

1. 11 to 15. 28 to 19. 

2. 8 " 11. 22 " 11. 

3. 11 " 16, or 9 to 14. 

It takes its name from having been a favorite among the 
players of that city. 

The " Bristol" is formed by the first three moves, thus : 

BLACK. WHITE. 

1. 11 to 16. 24 to 20. 

2. 16 " 19. 

It was named in compliment to the players of that city, 
by Mr. Anderson. 

The " Laird and Lady " is formed by the first six moves, 
thus: 

BLACK. WHITE. 

1. 11 to 15. 23 to 19. 

2. 8 " 11. 22 " 11. 
8. 9 " 13. 11 " 14. 

It was so called from the fact of its having been the 
favorite of Lord and Lady Cather, about sixty years ago. 

The " Suter " is formed by the first five moves, thus : 



28 The Elements of Draughts; 

BLACK.' WHITE. 

1. 11 to 15. 23 to 19. 

2. 9 " 14. 22 " 11. 

3. 6 " 9. 

Suter is a Scotch word signifying a shoemaker. This 
opening is so called because it was a favorite with an old 
Paisley player of that craft. 

The " Maid of the Mill" is formed by the first five moves, 
thus: 

BLACK. WHITE. 

1. 11 to 15. 22 to 11. 

2. 8 " 11. IT •«' 13, 
8. 15 " 18. 

It was called so from the fact that a miller's daughter in 
Lancashire (who was a fine player) was very fond of it. 

" Will-o'-the-Wisp," so called from the peculiarity of the 
positions which have arisen in the course of the game ; is 
formed by the first three moves, thus : 



BLACK. 


WHITE. 


1. 11 to 15. 


23 to 19. 


2. 9 " 13. 





The " Cross " is formed by the first two moves. It is so 
named because the second move is played across the direc- 
tion of the first one, thus : 

BLACK. WHITE. 

1. 11 to 15. 23 to 18. 

The " Dyke " is formed by the first three moves. (Dyke : 
Scotch — A fence or stone wall. It was so named, because 



or, Beginners' Sure Guide. 29 

in various stages of the game the pieces are formed into 
straight lines resembling a wall. 

The " Single Corner" is formed by the first two moves 
thus: 

BLACK. WHITE. 

1. 11 to 15. 22 to 18. 

It is so called from the fact that each piece is played 
from one single corner toward the other. 

The " Whilter" is formed by the first five moves, thus: 

BLACK. WHITE. 

1. 11 to 15. 23 to 19. 

2. 9 " 14. 22 " 11 

3. 1 " 11. 

The name signifies an overturning, productive of confu- 
sion. 

The " Second Double Corner " is formed by the first two 
moves, thus : 

BLACK. WHITE. 

1. 11 to r5. 24 to 19. 

It is so called because the first move of the second side is 
played from one double corner toward the other ; and also 
to distinguish it from the " Double Corner Game," which is 
so named from its very first move — namely, from 9 to 14. 

The foregoing " openings" constitute everything that the 
student requires on this subject. You will bear in mind the 
fact, that it matters little how well you " open," should you 
" close " badly. 

And now, believing that you are sufficiently acquainted 

3* 



30 The Elements of Draughts; 

with " out-posts," we will, according to promise, " take you 
by the hand, and hold familiar converse." Let us then sit 
down at the board, place the "men" properly, and play a 
preliminary game to initiate you. Suppose you choose the 
black pieces and play first. Of course you will place them 
on the numbers from 1 to 12. I will now place the white 
men from 21 to 32. 



CHAPTER VIII. 

PRELIMINARY GAME FOR THE INSTRUCTION OF THE BEGINNER. 

Supposing that you are now sufficiently acquainted with 
the elements of the game, I will now fulfill my promise by 
taking a seat on one side of an imaginary draught board 5 
you occupying the other, according to our arrangement at 
the close of the last chapter. As you have the black men, 
you will proceed to move first. The move made by the first 
player, in a great majority of the openings, is from 11 to 15. 
You may, therefore, make this move with perfect safety 
(Black: 1. 11 to 15.) I will reply by moving (White: 
1. 23 to 19.) In playing this game from the book you will 
remember that your board is to be numbered. It being now 
your move, you may move from 8 to 11 (Black: 2. 8 to 11.) 
It now being my turn to move, I will try the effect of mov- 
ing from 22 to 17. We will record it thus (White, 2d 
move : 22 to 17.) You may now make your third move. 
Suppose you try moving from 4 to 8 (Black, 3d move : 4 to 8.) 
Let us now examine the opening, and find out whether it 



or, Beginners' Sure Guide. 31 

has been classified among those described. Ah, yes ! By 
referring to the " Openings," you will perceive it to be 
44 Old Fourteenth." So far, the moves are correct on both 
sides. Premising that both continue to make correct moves, 
the game will finally be drawn. But I do not think best to 
play it in this way. 

I prefer rather to make improper moves occasionally, and 
to instruct you to do the same, for by such a course you will 
be most benefited. We will now continue the game. In 
replying to your last I respond by moving from 17 to 13 
(White, 8d move: 11 to 13.) You may reply 15 to 18. 
Enough having been shown to enable you to " catch the 
idea," we will commence the game anew, and record it as 
follows : 

"OLD FOURTEENTH." 

BLACK. WHITE. 

(Student) (The Author.) 

Move 1. 11 to 15. 23 to 19. 

" 2. 8 u 11. 22 " 11. 

" 8. 4 " 8. 11 » 13. 

* 4. 16 " 18. 24 " 20. 

" 6. 11 " 15. 28 " 24. 

" 6. 8 " 11. 32 " 28. (a) 

44 1. 3 " 8. (6) 21 " 11. (c) 

44 8. 9 " 14. (d) 20 " 23. (e) 

" 9. 14 " 21. 23 " 14. 

" 10. 10 " 11. 19 " 3. (/) 

" 11. 11 " 15. (g) 31 " 26. 

44 12. 15 " 18. 24 " 19. (h) 

44 13. 6 " 9. (t) 26 4 22. 

44 14. 11 " 25. 80 " 5. 



32 The Elements of Draughts; 



BLACK. 

Move 15. 21 to SO. 

" 16, 2 " 7. (*) 

44 17. 6 " 31. 

M 18. 12 " 19. 

44 19. 1 " 10. 

44 20. 19 " 23. (n) 

44 21. 23 " 27. 

u 22. 8 " 11. (o) 

44 23. 10 u 15. 

44 24. 15 " 18. (|>) 

44 25. 18 " 22. 

44 26. 27 " 32. 

44 21. 30 " 26. 

44 28. 22 " 25. (r) 

44 29. 26 " 17. 

44 30. 32 " 27. 

44 31. 31 " 26. 

44 32. 17 " 14. (t) 

44 33. 26 " 23, 

" 34. 23 " IS. 

44 35. 18 " 15. («) 

44 36. 27 44 23. 

44 37. 15 " IS. (w) 

44 38. 14 " 9. 

44 39. 18 " 9. 

44 40. 9 tl 13. (y) 

44 41. 23 " 18. 

44 42. 18 " 14. 

44 43. 13 " 17. 

44 44. 14 " 10. 

44 45. 17 4< 14. 

44 46. 14 44 9. 



WHITE. 




20 to 16. 


(M 


3 


« 


10. 




13 


u 


9. 


« 


9 


u 


6. 


(m) 


5 


u 


1. 




28 


tl 


24. 




24 


n 


20. 




1 


u 


6. 




6 


c< 


10. 




10 


ci 


15. 


(0 


15 


« 


8. 




20 


« 


16. 




16 


a 


11. 




29 


« 


22. 




11 


tc 


7. 




7 


u 


2. 




2 


a 


6. 


(•> 


8 


a 


11. 




11 


M 


7. 




7 


(( 


2. 




6 


a 


1. 


w 


1 


(4 


5. 




2' 


a 


7. 


w 


5 


u 


14. 




7 


u 


10. 




10 


u 


6. 


w 


6 


u 


1. 




1 


a 


6. 




6 


« 


1. 




1 


u 


6. 




5 


44 


1. 




1 


a 


& 





or, Beginners' Sure Guide. 33 

BLACK. WHITE. 

Move 47. 10 to 14. 5 to 1. 

" 48. 9 " 5. 1 " 6. 

41 49. 5 " 1. 6 " 2. 

44 50. 14 " 18. (Observe this.) 2 " 7. 

44 51. 18 " 15. 1 " 2. (best) 

** 52. 15 " 11, and you have won the game. 

Notes to tlie above Game. 

% *) *r «&ry bad, a. by your moving from 11 to 16, you would oblige me 
to %o from 20 to 11, (■...during your piece; after which you could take 
thiee of my men by juin^. ag with the man on 7, landing on square 32. 

(£>) Here you not only neglect to take advantage of my oversight, 
but also make the very move which prevents your doing so. 

(c; With the intention of next moving from 17 to 14 (if a chance 
should offer), thus obliging you to capture with the man on 10, when I 
can go from 19 to 8, thus gaining a clear piece. 

(d) Although this move delays the sacrifice, it does not avoid it, a9 
you will perceive shortly. 

(e) A proper move at this point, for I shall next land on 14, thus 
obliging you to take with the man on 10, after which I accomplish my 
former intention, by jumping from 19 to 8, making a King ! 

(/) The proper style; this injures you; 1 game very badly. 

ig) For the purpose of restraining the White King. 

(Ji) Decidedly a bad move, as by moving from 2 to 7 you would forcfl 
me to jump with the King, when you could capture three pieces, landing 
on No. 31 1 

(i) Here you have committed a " double-barrelled blunder," 1st, by 
neglecting to take advantage of my last oversight, and secondly, by 
making a weak move, which enables me to take the advantage. 

(j) Not only useless but deplorable, as I must finally lose this piece. 

(k) What you should have done some time before, but " better late 
than never." 

(Z) I have nothing better; as anything else loses. 

im) For the purpose of making a King, to prevent being "skunked," 
this being the term applied to the player who does not obtain a King. 

(n) Better to let this stand, to hold the white man on 28. 

<o) Correct: this blocks the white man. 

(,p) Bad. Do you not perceive that my King can now move betWiien 



34 The Elements of Draughts; 

your men ? I now attack both of them, and must capture one. This is 
called " taking the breeches." Avoid falling into this error. 

(q) Takes advantage of the error. 

(r) Correct play. You (having a man more) will be the gainer by 
exchanging. 

(«) For the purpose of occupying the " double comer," which is the 
strongest position. 

(t) By thus taking up the square opposite with one square between 
your man and mine, you have the " move," and should I next move 
from 6 to 2, you could " pin " my piece by moving from 14 to 10. 

(u) Another error, which leaves an opportunity for me to draw the 
game, by moving from 6 to 10. By examining the position, you will 
perceive that it can make no change in the result, whichever man you 
make the capture with ; for I take two for one in either case. You will 
do well to observe this position carefully, as it very frequently occurs, 
especially between beginners, and is a 4I rock upon which thousands 
have been wrecked." 

(-») I here fail to avail myself of the advantage offered. 

(«0) For the purpose of exchanging on the next move, by going from 
14 to 9. 

(«j) Wrong. 2 to 6 would frustrate your design. 

iy) By letting this stand, and moving from 23 to 19, you could hava 
kept me from the tl double corner." 

(z) Best. From this point the correct moves (on doth sides) are 
given. Observe carefully, for the purpose of winning in this positloiaj 
which is not easy for the tyro, 



or, Beginners' Sure Guide. 35 



CHAPTER IX. 

END-GAMES. 

Two Kings against One. 

End-Games are very important, being the "hinge upon 
which the whole matter turns." We have seen that two Kings 
win against one standing in the " double corner," but these 
forces may be so situated that two cannot win. For ex- 
ample : A Black King on 3 and another on 12. Now place 
a White King on 11, and let it be Black's turn to move 
Black being obliged to sacrifice one of his pieces, the game 
will be drawn. 

Two Kings against Three. 

Three Kings win against two in a majority of cases, but 
not invariably. Take the following example from Sturges* 
work : Black KLigs at 3, 4, and 12 ; White Kings at 10 and 
15 ; and White to move. White may now draw the game 
by moving as follows . 

WHITE. BLACK. 

1. 15 to 11. 3 to 8. 

2. 10 " 15. 8 " 8. 

3. 15 u 19, etc. 

Three Kings against Two; each One command- 
ing a *<J>onble Corner." 

This is a difficult position for a beginner to comprehend ; 
even players who have made considerable progress, find it 
difficult to win with the three Kings. The following diagram 
represents the position. It is a fine study, and will well 
repay your attention. 



36 The Elements of Draughts ; 



Diagram VI. 
(From Sturges.) 

BLACK. 




WHITE. 



White to move and win. 

SOLUTION. 
WHITE. BLACK. 

1. 18 to 15. 6 to 4. 

2. 14 «9, 24 " 28. 
8. 23 «M 1 u 5. 



or, Beginners' Sure Guide. 37 

WHITE. BLACK. 

4. 9 to 6. 28 to 82. 

5. 19 " 24. 5 " 1. 

6. 24 " 19, and wins. 

The First Position of Sturges* 

Diagram VIL 
black. 




WHITE. 

White to move and win. 



38 The Elements of Draughts ; 





SOLUTION. 








WHITE. 




BLACK. 


1. 


27 to 32. 




28 to 24. 


2. 


23 " 18. 




24 


" 28. A, 


3. 


18 " 15. 




28 


" 24. 


4. 


32 " 28. 




24 


" 27. 


5. 


16 " 18. 




12 


" 16. 


6. 


28 " 32. 




27 


" 24. 


1. 


18 " 15. 




24 


" 28. 


8. 


15 " 11. 




16 


" 19. 


9. 


32 " 27. 




28 


" 32. 


10. 


27 " 31. 




19 


" 23. 


11. 


11 " 15. 




82 


" 28. 


12. 


15 " 19, and 


wins. 







A. 

The above letter is placed after Black's second move, to 
show that he may vary the play, such being termed a varia- 
tion. Suppose now that instead of moving from 24 to 28, 
Black had gone from 12 to 16, beginning back, thus : 



WHITE. 


BLACK. 


12 to 16. 


3. 18 to 15. 


16 u 20. 


4. 15 " 18. 


24 " 19. 


5. 32 " 28. 


19 " 16. 


6. 18 " 23. 


16 " 11. 


7. 23 " 19. 


11 " 8. 


8. 28 " 32. 


8 " 11. 


9. 82 " 27. 


11 " 8. 


10. 27 " 23. 


8 " 8. 


11. 23 " 18. 


8 " 8. 


12. 18 " 15, and wins, 





or, Beginners' Sure Guide. 39 

While on the subject of " variations," I would inform you 
that there are an unlimited number growing out of every 
game, in many cases giving rise to the most intricate and 
beautiful combinations. To give you something of an idea 
of their extent, I would state, that in the " Fife opening," 
Mr. Drummond gives one hundred and ninety-six variations ! 
You will clearly perceive the impracticability of the attempt 
to be thus diffuse in a work of our present limits. When 
you have digested this volume, you will be fully prepared to 
take hold of Anderson's work, or that of Mr. Drummond, 
either of which will furnish you with subject-matter for years 
of contemplation. The principal advantage to be derived 
from tracing out a great number of variations, is the ten* 
dency that it produces to fix the leading moves (on both 
sides) in the memory. 



4-Q The Elements of Draughts ; 



chapter x. 



STRATAGEMS. 



I will next direct your attention to what is generally 
termed "traps," which consist of certain "inventions of 
the enemy," employed by the more experienced player, for 
the purpose of " upsetting " his unfortunate antagonist. 

Diagram VIII. 




WHITE. 



or, Beginners' Sure Guide. 



41 



When you have become a strong player, these devices nd 
longer annoy, although, through inattention, you will occa- 
sionally "get a rap over the knuckles" even then. Dia- 
gram VIII. represents a case in point. 

It being Black's move, he now moves from 1 to 6 ; upon 
which White very properly moves from 24 to 19, thus win- 
ning three pieces ! 

Beware of positions similar to the following : 

Diagram IX. 



BLACK. 




WHITE. 

4 



42 The Elements of Draughts: 

Here, White having the move, will win the game, by 
moving from 29 to 25. 

I am aware that the above appears so very obvious that 
most authors would pass it unnoticed; but I assure you that 
you will find cases of this kind very frequently occur in the 
experience of the beginner, and it is only because these 
cautions are not given, that he continues to suffer frequent 
defeat through ignorance, as well as want of care. 

Diagram X. 




WHITE. 



or, Beginners' Sure Guide. 43 

Another " trap" of an exceedingly annoying and dangerous 
character, will be found exposed in diagram X. 

Black last moved from 15 to 19, which left the position as 
it appears on the diagram. White has only to move from 
12 to 8, when Black must jump from 4 to 11. White, as 
you perceive, can now clear the board ! The above appears 
simple, but beware. I know of no class of stratagems 
which are so often, and so successfully employed against the 
inexperienced player as this. Similar situations arise in 
almost every game, when an adept is contending against a 
tyro. Beware of allowing an adverse King to be posted 
back of the square upon which one of your men may be 
forced to occupy, by being made to jump. An unstudied 
move, as in the case above, where Black moves from 15 to 
19, may " enter a link" in the " chain of evidence" which 
will " bind you to the rack." 



44 The Elements of Draughts; 



There is another stratagem to which we would call espe- 
cial attention, it being very apt to be employed at the clos- 



Diagram XI. 

BLACK. 




WHITE. 

ing part of the game. In fact, it occurs at a certain point 
of the preliminary game already given. Give it your close 
attention. 

Black last moved from 14 to 17. By mcving from 26 to 
22, White wins the game. 

There is yet another error into which the amateur is pe- 
culiarly liable to fall ; in fact, he seems fated to be victimized 



or, Beginners' Sure Guide. 45 

by this combination to an almost unlimited extent, during 
his M probation." Here we have an example : 
Diagram XII. 

BLACK. 




WHITE. 



Here Black last moved from 12 to 16. White can now 
exchange ; and then Black has suffered for his error. 
White, of course, goes from 24 to 19. 

There is another nearly resembling the above, which I 
deem necessary to place before you, it being highly proba* 
ble to occ xy in play. 



46 The Elements of Draughts; 



Diagram XIII. 

BLACK. 




Black last moved from 9 to IS. White replies by going 
from 21 to 17, and then takes three, landing at $0. 4. 



We now subjoin six problems, copied from the New York 
Clipper, the acknowledged "Draught Player's Organ" for 
the United States and the Canadas. We sincerely regret 
that our space will not ailow us to present a greater number. 



or, Beginners' Sure Guide. 47 



Problem I. 

BY MR. H. SPAYTH, OF BUFFALO, N. Y.* 

(Occurring in actual play.) 
black (Spayth). 




white (Mr. M). 
Conditions, — Black prevents White from obtaining a King. 



SOLUTION. 



black. 
1. 15 to 19. 



WHITE. 

24 to 15. 



* We take sincere pleasure in notifying all draught players, that 
Mr. S. is preparing a treatise on the game, which will appear soon. It 
will be well worthy of his fame and of th air attention. 



48 The Elements of Draughts; 



BLACK. WHITE. 

2. 23 to 26. 31 to 22. 

3. 25 u 2. 

Problem II, 

BY " N E M . " 
BLACK. 




WHITE. 

White to move and win. 

SOLUTION. 

WHITE. BLACK. 

1. 16 to 11. 1 to 16. 

2. 6 " 10. 14 u 7. 

8. 27 u 24. 5 " 14, 



or, Beginners' Sure Guide. 49 



WHITE BLACK. 

4. 23 " 18. 14 " 23. 

5. 22 " 17. 21 " 14. 

6. 30 " 25. 29 " 22. 
1. 24 " 19. 15 " 24. 
8. 28 " 19, and wins. 

Problem III, 

BY "FOO POO." 

Dedicated to I. D. J. Sweet. 

BLACK. 




WHITE. 

White to move and win. 



\ 



50 The Elements of Draughts; 



SOLUTION. 

WHITE. BLACK. 

1. 11 to 16. 17 to 10. 

2. 15 " 6. 1 " 10. 

3. 19 " 15. 10 " 19. 

4. 26 " 22. 18 " 25. 

5. 30 " 25. 23 " 30. 

6. 16 " 23, and wins. 

Problem IV. 

BY J. P. SWEET. 
BLACK. 




WHITE. 

White to play and win. 



or, Beginners' Sure Guide. 51 





SOLUTION. 




WHITE. BLACK. 


1. 


25 to 29. 11 to 4. 


2. 


12 " 8. 4 " 11. 


3. 


26 " 23. 19 " 26. 


4. 


18 " 15, and wins. 




Problem V. 




RY E. HULL, 




END-GAME. 




BLACK. 




WHITE. 

White to move and win. 



52 The Elements of Draughts; 



SOLUTION. 




WHITE. 




BLACK. 


1. 14 to 10. 




19 to 28. 


2. 30 " 25. 




13 " 22. 


3 10 " 6. 




1 " 10. 


4. 20 " 16. 




11 " 20. 


5. 27 " 24. 




20 " 27. 


White now wins. 


Problem VI 




BY C. ALLEN, 


OF ROXBURY, MASS. 


(A masterly and 


beautiful 

BLACK. 


composition) 




WHITE. 

White to move ar.d win. 



or. Beginners' Sure Guide. 53 

SOLUTION. 
WHITE. BLACK. 

1. 18 to 14. 9 to 25. 

2. 26 " 23. 2 " 9. 

3. 11 " 1. 4 " 11. 

4. 1 ** 16 12 " 26. 

5. 28 " 24. 20 u 27. 

6. 32 " 6, and wins. 

The foregoing are all that our space will allow us to pre 
sent. Those who are in possession of files of the Clipper 
for the past four years, congratulate themselves in the 
ownersnip of between three and four hundred original 
draught problems, which, taken together, form an unbounded 
source of delight and instruction. 

This splendid collection will be lost to thousands of play- 
ers, should it not be gathered together in the form of a little 
book. It is the intention of the author to arrange these 
compositions for publication, before many months, and at a 
figure low enough to enaole all to possess the work. 



ft* 



54 The Elements of Draughts ; 



GAMES. 



I now proceed to fulfill my promise to more advanced 
players, before whom I present the following games, with 
analysis of each appended. They are selected from the 
Clipper, which is the repository of the best games and 
problems in the United States. Containing the games of 
the most accomplished practitioners throughout the country, 
no higher authority can be required or accorded. It is, 
perhaps, unnecessary to add, that the following games are 
presented for the examination of those players who are not 
correspondents of the Clipper, as such are already familiar 
with their merits. 

Game I* 

(From Anderson's Work.) 
(Published with notes, in the Clipper, about two years ago.) 



"OLD 


FOUKTEENTH. ' 


BLACK. 


WHITE. 


1. 11 to 15. 


23 to 19. 


2. 8 " 11. 


22 " 17. 


3. 4 " 8. 


11 " 13. 



or, Beginner's Sure Guide. 55 





BLACK 






WHITE. 


4. 


15 to 18. 




24 to 20 


5. 


11 


« 


15. 




28 " 24. (a) 


6. 


8 


ti 


11. 




26 " 23. 


1. 


9 


II 


14. 




31 " 26. (6) 


8. 


6 


II 


9. 


w 


13 " 6. 


9. 


2 


II 


9. 




26 " 22. (d) 


10. 


1 


II 


6. 


(e) 


32 " 28. 


11. 


8 


tc 


8. 




80 " 26. 


12. 


9 


(I 


13. 




19 " 16. 


13. 


12 


II 


19. 




23 " 16. 


14. 


13 


II 


IT. 


(/) 


22 " 13. 


15. 


8 


II 


12. 




24 " 19. 


16. 


15 


u 


81. 




26 " 22. (g) 


IT. 


12 


II 


19. 




22 " 8. 


18. 


14 


II 


IT. 




21 " 14. 



19. 10 " IT. Drawn. 

Notes. 

(a) It is unnecessary to suggest to old players, that this Is a very 
" natural opening." 

(&) Daring ; but perfectly sound. 

(c> This move will change the views of young players, as regards 
breaking the " King row." 

(d) A fine " gambit "* in view. 

(e) Strange as it may appear, 9 to 18 would be a " dead beat" for 
Black. 

(/) This portion of the game should be carefully observed by the 
student, as it is very instructive. 

* Sacrificing a piece, to gain an advantage In position. 



56 The Elements of Draughts ; 



Game II. 
Played between Messrs. Mercer and Spayth, who rank as 
first-rate players. 

"the cross." 
black (Mr. Mercer.) white (Mr. Spayth.) 



1. 11 


to 15. 


2. 8 


" 11. 


3. 4 


" 8. 


4. 9 


" 14. 


6. 5 


" 14. 


6. 15 


" 18. 


7. 11 


" 15. 


8. 7 


« 11. (a) 


9. 6 


" 13. 


10. 15 


" 24. 


11. 1 


" 10. 


12. 14 


" 18. 


13. 3 


u 7. 


14. 2 


" 6. 


15. 11 


" 18. 


16. 8 


" 11. 


17. 11 


" 15. 




Notes* 


(«) Strong, and perfectly sound. 

(&) A fine combination for actual play. 



23 to 18. 


27 


44 


23. 


23 


(C 


19. 


18 


U 


9. 


22 


U 


11. 


26 


u 


22. 


17 


u 


18. 


13 


u 


9. 


24 


1$ 


20. 


22 


(C 


6. 


28 


(C 


19. 


31 


a 


26. 


26 


a 


22. 


22 


ti 


15. 


32 


a 


27. 


80 


it 


26. 



(*) 



Game III. 

(From Anderson's Work.) 

"AYRSHIRE LASSIE. " 



BLACK. 


WHIT& 


1. 11 to 15. 


24 to 20. 


2. 8 « 11. 


28 " 24. 



or, Beginners' Sure Guide. 57 

BLACK. WHITE. 

3. 9 to 13. 23 to 19. (a) 

4 6 " 9. 27 " 23. 

5. 9 " 14. 32 " 28. 

6. 4 " 8. 22 " 18. 

7. 15 " 22. 25 " 9. 

8. 5 " 14. 19 " 16. (6) 

9. 12 " 19. 24 " 6. 

10. 1 " 10. 29 » 25. 

11. 10 " 15. 23 " 19. 

12. 15 " 24. 28 " 19. 

13. 8 u 12. 26 " 23. 

14. 7 " 10. (c) 25 " 22. 

15. 11 " 15. 30 " 26. 

16. 15 " 24. 22 " 18. 

17. 3 " 7. 18 " 9. 

18. 12 " 16. 20 " 11. 

19. 7 « 16. 21 " 17. 

20. 13 " 22. 2fc" 17. 

Drawn. 

Notes. 

(a) Such an opening is but seldom adopted, except by the finest 
players 

(b) At this point we observe a great manifestation of cautiousness 
and sagacity. 

(c) Observe the great beauty of the game at this point. 



Game IV. 

"FIFE ' ' OPENING. 
(From Anderson's Work.) 

BLACK. WHITE. 

. 11 to 15. 23 to 19. 

. 9 " 14. 22 " 17. 



58 The Elements of Draughts; 





BLACK. 




WHITE. 


3. 


5 to 9. 




17 to 13. 


4. 


14 


" 18. 


(a) 


19 


M 16. 


5. 


12 


" 19. 




26 


" 23. 


6. 


19 


" 26. 




30 


" 5. (6) 


1. 


15 


" 18. 




25 


" 22. 


8. 


18 


" 25. 




29 


a 22. 


9. 


10 


" 14. 




22 


" 18. 


10. 


14 


" 23. 




27 


" 18. 


11. 


8 


" 11. 




32 


" 21. (c) 


12. 


4 


M 8. 




21 


" 23. 


13. 


8 


" 12. 




24 


" 20. (d) 


14. 


7 


u 10. 


W 


31 


" 26. (/) 


15. 


10 


" 15. 




26 


" 22. 


16. 


12 


" 16. 




28 


il 24. 


17. 


3 


" 8. 




21 


" 17. (# 


18. 


15 


" 19. 




24 


" 15. 


19. 


6 


" 9. 




13 


" 6. 


20. 


1 


" 26. 




18 


" 15. 



Drawn. 



Notes* 

(a) This has the appearance of being unsound for Black, but still 
with the best play, White can only draw the game. 

(&) At this point White has the man, but the " two families " are 
more than can be supported to advantage. 

(c) White has nothing better. 

id) Those three men on the perpendicular line are good for fifty per 
cent. 

(e) Struggling for equality. 

(/) What else ? 

(0) Black breathes easier. 



or, Beginners' Sure Guide. 59 

Game V. 

"suter" opening. 

Played between W. J. A. Fuller, Esq., of New York, and 
Mr. Hodges, of Buffalo, one of the strongest players in the 
United States. 



BLACK. (M: 


r. F.) 


WHITE 


(Mr. H.) 


1. 11 to 15. 


22 to 17. 


2. 9 


(I 


14. 


23 


" 19. 


3. 6 


II 


9. 


17 


" 13. 


4. 2 


It 


6. 


25 


" 22. 


5. 8 


II 


11. 


29 


11 25. 


6. 4 


u 


8. 


22 


" 17. 


7. 14 


tc 


18. 


27 


" 23. (a) 


8. 18 


a 


27. 


32 


" 23. 


9. 15 


u 


18. {b) 


23 


" 14. 


10. 9 


II 


18. 


17 


" 14. 


11. 10 


a 


11. 


21 


" 14. 


12. 11 


it 


16. 


19 


" 15. (<?) 


13. 18 


u 


23. 


26 


11 19. 


14. 16 


u 


23. (d) 


24 


" 19. 


15. 6 


u 


9. 


13 


" 6. 


16. 1 


u 


11. 


25 


" 21. 


17. 17 


a 


22. 


21 


" 17. 


18. 7 


a 


11. 


15 


" 10. 


19. 11 


(l 


16. 


19 


" 15. 


20. 16 


11 


20. 


10 


" 6. 


21. 23 


11 


27. 


31 


a 24. 


22. 20 


11 


27 (e). and wins. 





Notes. 

(a) This move loses the game. 

(6) Here Mr. Fuller displays a portion of that bold originality for 
which his play is so remarkable. 



6o The Elements of Draughts; 

(<?) Many would have exchanged at this point ; but in that case Black 
would soon have forced a king, which would have " raked " White's 
"stern sheets." 

id) All up, 

{e) The game was protracted many moves, but is evidently lost. 



Oanie VI. 

Played between Messrs. Drysdale* and Mercer. 
"single coknek." 
black (Mr. Drysdale.) white (Mr. Mercer.) 



1. 


11 to 15. 


22 to 18. 


2. 


15 " 22. 


25 


" 18. 


3. 


8 " 11. 


29 


"tf. 


4. 


4 " 8. 


25 


" 22. 


5. 


11 " 16. 


24 


" 20. 


6. 


8 " 11. 


27 


u 24. 


7. 


10 u 14. 


24 


" 19. 


8. 


7 " 10. 


28 


u 24. 


9. 


3 " 7. 


30 


" 25. 


10. 


9 u 13. 


18 


44 9. 


11. 


5 u 14. 


22 


44 18. 


12. 


13 " 17. 


18 


" 9. 


13. 


6 " 13. 


21 


" 14. 


14. 


10 a 17. 


26 


" 2V- 


15. 


17 " 26. 


31 


" 22. 


16. 


7 " 10. 


25 


"*!• (a) 


17. 


2 " 6. (b) 


32 


44 27. («) 


18. 


6 " 9. 


22 


" 18. 


19. 


1 u 5. 


18 


" 15. 


20. 


11 " 18. 


20 


44 11. 


21. 


18 " 22. Drawn. 







* Mr. Drysdale claims to be " champion," and is certainly a flrst-rato 
player. 



or, Beginners' Sure Guide. 61 



Notes, 

BY MR. MERCER. 



(a) "White might have moved from 18 to i5, and have drawn easily; 
but Mr. Mercer preferred a "harder road to travel." 

(5) Here Mr. D. followed Drummond ; 18 to 15 would result in a beau- 
tifully drawn game. — — /^^) 

(c>) White has nothing else left. 32 to 28 would lose, without an " if." 



Game VII. 

BY H. SPAYTH, ESQ. 

Dedicated to Andrew Anderson, Esq., champion of Scotland, 
[The accompanying notes are by Mr. S.] 

" whilter" opening. 



BLACK. 


WHITE. 


1. 11 to 15. 


23 to 19. 


2. 7 " 11. 


22 " 17. 


3. 11 " 16. (a) 


26 u 23. 


4. 8 " 11. 


17 " 13. (6) 


5. 16 " 20. 


25 " 22. 


6. 9 " 14. 


29 " 25. 


7. 4 " 8. 


31 " 26. 


8. 2 " 7. 


22 " 17. (c) 


9. 11 " 16. 


23 " 18. (d) 


10. 15 " 29. (e) 


26 M 22. 


11. 16 " 23. 


27 " 2. 


12. 20 " 27. 


2 <« 4. 


13. 29 " 25. 


32 " 23. 


14. 25 u 27. (/) 


4 " 8. 


15. 10 u 15. 


8 w 11. 


16. 15 " 18. 


17 * 14. 


17. 18 " 22. 


21 " 17. iff) 


18. 22 " 26. 


30 * 23. 


6 





62 The Elements of Draughts; 





BLACK. 


WHITE. 


19. 


2T to 9. 


13 to 6. 


20. 


1 " 10. 


28 " 24. 


21. 


6 " 9. 


IT " 13. 


22. 


9 " 14. 


24 " 19. 


23. 


14 " IT. 


11 " t. 


24. 


10 " 14. 


T " 10. 


25. 


3 " 8. 


19 " 15. 



Drawn. 



Notes. 



(a) This forms the " Whilter." 

(5) Anderson moves from 17 to 14 for a draw, and attempts to prove 
17 to 13 a losing move. 

(c) Instead of this move, the Scottish champion moves 21 to 17, and 
26 to 18, which he correctly proves to be losing moves. 

(d) This move will be appreciated when the jumping is over, when it 
will be perceived that both sides are perfectly safe for a draw. 

(6) The only safe capture. 

if) Very seldom such strokes as from White's 9th to Black's 14th 
move occur in good games. 
ig) Bold; but best. 



Game ViMI. 
"old foukteenth." 
Played between Mr. H. Brayton and J. P. Sweet. 

S.) 



BLACK (H. B.) 

1. 11 to 15. 

2. 8 " 11. 
8. 4 " 8. 

4. 15 " 18. 

5. 11 " 15. 

6. 8 " 11. 



WHITE (J. P. 

23 to 19. 
22 " IT. 
IT " 13. 

24 " 20. 
28 " 24. 
26 " 28. 



or, Beginners' Sure Guide. 63 



BLACK (H; B). 


WHITE (J. P. S). 


f. 


9 to 14. 


31 to 26. 


8. 


11 to 16. (a) 


2Qto 11. 


9. 


1 " 16. 


21 " 17. (b) 


10. 


14 " 21. 


23 « 1. 


11. 


2 " 11. (€) 


19 " 10. 


12. 


6 " 15. 


26 " 23. 


13. 


3 " 1. 


23 " 18. 


14. 


15 " 22. 


25 " 18. 


15. 


1 " 10. 


30 " 26. 


16. 


10 " 15. 


18 « 14. 


11. 


16 " 19. (<*) 


32 " 28. (e) 




White 


wins. 



Notes. 

BY J. P. SWEET. 

<•*) We believe this move to be perfectly sound, 
<&) Clearing the field. 

(c) Anything else loses. 

(d) Although {without reflection) a natural move, it must lose. 
(fi) Quiet, indeed ! 



' Mr. B., although not " posted " in u book openings,' 
is quite a strong player. 



Game IX* 

(Both play blindfold!) 
GLASGOW 

Played between " Apollo " and " Harry Leseme," both of 
Philadelphia. 

black (Apollo.) white (Harry L.) 

1. 11 to 15. 23 to 19. 

2. 8 " 11. 22 " 17. 
& 9 " 14, (a) 26 " 23. 



64 The Elements of Draughts; 



BLACK (Apollo). 


white (Harry L.) 


4. 4 to 8. 




11 to 13. 


5. 15 " 18. 




24 " 20. 


6. 11 " 15. (b) 




28 " 24. 


1. 1 " 11. 




31 " 26. 


8. 6 " 9. 




13 " 6. 


9. 2 " 9. 




26 " 22. 


10. 9 u IS. 




20 " 16. 


11. 11 " 20. 




22 " 11. 


12. 13 " 22. 




21 " IT. 


13. 14 " 21. 




23 " 1. 


14. 3 " 10. 




25 " 4. (c) 


White 


wins. 





Notes* 

BY "APOLLO.'* 

(0) Done merely to throw him off the " scent." 
(&) To see if he was asleep. 
(0) This answers the question. 

flgg" We insert the above as a curiosity. Those wh© 
have not tried the experiment can hardly be aware of the 
difficulty of playing " blindfold." 



Game X* 

THE "CEOSS," BY "HAMILTON." 

Dedicated to his friendj L. K., of New York* 



BLACK. 




WHITE. 


1. 11 to 15. 




23 to 13. 


2. 8'" 11. 




26 " 23. 


8. 4 " 8. 




30 " 26. 


4. 15 " 19. 


(«) 


24 " 15. 


6. 10 " 19. 




23 " 16. 


6. 12 " 19. 




22 " 11. 



or, Beginners' Sure Guide. 6 J 





BLACK 


. 




WHITE. 


1. 


9 to 13. 




17 to 14. (6) 


8. 


8 


u 


12. 




27 


a 


24. (e) 


9. 


11 


U 


16. 




24 


u 


15. 


10. 


1 


l( 


10. 




14 


u 


7. 


11. 


3 


u 


19. 


(d) 


26 


a 


22. 


12. 


19 


(i 


24. 




28 


u 


19. 


IS. 


16 


u 


23. 




18 


a 


15. 


14. 


6 


C( 


10. 


« 


15 


a 


6. 


15. 


1 


u 


10. 




22 


a 


!*.(/) 


16. 


13 


u 


22. 




25 


it 


18. 


17. 


6 


a 


9. 




29 


a 


25. 


18. 


12 


a 


16. 




25 


a 


22. 


19. 


23 


u 


26. 


w 


22 


(C 


17. 


20. 


26 


a 


30. 




17 


a 


14. 








White wins. 









Notes. 

BY "HAMILTON." 

<a) This is a touch the authors never thought of. 
(5) A lost move, according to Anderson and Drummond. See Ander- 
son's fifteenth variation of "Dyke." I claim it as draw-able, 
(c) Anderson moves 25 to 22 instead. 
(<£) A grand touch. 
ifi) Best ; 2 to 7 would lose a man. 
</) Drummond overlooked this move ; the only draw, 
iff) Eather hasty ; 9 to 13 can draw " every time." 



Game XI. 
(From Anderson's Work.) 
u BRISTOL." 
' The student will bear in mind that the notes accom- 
panying all the games from Anderson's treatise (embraced 
in the present volume) were originally prepared for the 
Clipper. 

6* 



66 The Elements of Draughts 



BLACK. 


WHITE. 


1. 11 to 16. 


24 to 20. 


2. 16 " 19. (d 


23 " 16. 


3. 12 " 19. 


22 " 18. 


4. 9 " 14. 


18 u 9> 


5. 5 ll 14. 


25 " 22. 


6. 8 " 11. 


22 " 17. 


7. 4 " 8. 


27 " 24. 


8. 11 " 15. 


20 " 16. 


% 8 " 11. 


24 " 20. 


10. 6 u 9. 


17 " 13. 


11. 1 " 5. (b) 


13 u 6. 


12. 2 u 9, 


29 " "25% 


13, 9 u 13. 


25 " 22. 


14. 14 " 18. 


22 " 17. 


15. 13 " 22. 


26 " 17. 


16. 18 " 22. 


17 " 14. 


17. 10 " 17. 


21 u 14. 


18. 19 " 23. 


SI " 27. 


19. 15 " 18. 


14 " 10. (e) 


ao. 7 " 14. 


16 " 7. 


21. 3 " 10. 


20 " 16. 


22. 22 " 26. 


16 " 11. 


23. 26 " 8-1. 


11 " 7. (d) 


24. 31 " 24. 


28 " 19. 


25. 23 " 27. 


32 " 23. 


Brawn. 




Notes. 





(a) We have seldom seen this opening in actual play. 

( &) Depending on his skll in the open field. 

(c, Combinations of this character are very instructive to the learner, 
showing that a piece more does not always win. 

{d) Black cannot possibly win. Position carries White through with 
safety. 



or, Beginners' Sure Guide. 67 

Game XII. 
"maid of the mill." 
Played between Messrs. Hodges and Mercer. 
black (Mr. M). white (Mr. H). 

1. 11 to 15. 22 to 17. 

2. 8 " 11. 17 " 13. 

3. 15 " 18. 23 " 14. 

4. 9 " 18. 26 " 23. 

5. 10 u 14. 24 " 19. 

6. 6 " 10. 28 u 24. 

7. 4 u 8. 24 " 20. 

8. 1 " 6. 30 u 26. 

9. 14 "17. (a) 23 " 14. 

10. 11 " 16. {b) 20 " 4. 

11. 3 " 8. (c) 4 " 11. 

12. 7 " 30. 14 u 7. 

13. 2 " 11. (d) 21 " 14. 

14. 30." 21. (e) 14 " 9. (/) 

15. 5 " 14. 29 " 25. 

16. 21 " 30. 31 " 26. {ff) 

17. 30 " 23. 27 " 2. 

Black loses. 

Notes* 

(a) Tries an experiment. 

(&) Determined to " see througn it•. , ' , 

(c) Goes ahead. 

(d) No " backing out." 

(e) Caught. 

(/) Has it all his own way. 

(g) Gives him the finishing touch. 



68 The Elements of Draughts; 



Game XIII. 






[From Anderson's 


Work.] 




" GLASGOW." 






BLACK. 


WHITE. 


1. 11 to 15. 


23 to 19. 


2. 8 " 11. 


22 


u 


17. 


3. 11 " 16. (a) 


24 


u 


20. 


4. 16 " 23. 


27 


u 


11. 


5. 7 " 16. 


20 


u 


11. 


6. 3 " 7. 


25 


u 


22. 


7. 7 " 16. 


22 


u 


18. 


8. 9 " 14. (b) 


18 


a 


9. 


9. 6 " 22. 


26 


a 


17. 


10. 5 " 9. 


28 


u 


24. 


11. 10 " 15. 


24 


n 


20. 


12. 16 " 19. 


30 


u 


26. 


13. 1" 6. 


32 


(i 


28. 


14. 2 " 7. (c) 


31 


u 


27. (d) 


15. 4 " 8. 


29 


a 


25. 


16. 8 " 11. 


27 


(C 


24. 


17. 7 " 10. 


25 


a 


22. {e) 


18. 9 " 14. (/) 


17 


u 


13. 


19. 14 " 18. 


22 


a 


17. 


20. 18 " 22. 


17 


a 


14. (9) 


21. 10 « 17. 


21 


u 


14. 


22. 22 " 31. 


14 


a 


10. 


23. 31 " 27. 


10 


a 


1. 


Drawn. 








Notes* 








(a) Eager for battle. 








(&) Black likes plenty of ' 


'sea room." 


(o) Trying White's mettle 









or, Beginners' Sure Guide. 69 

{d) Not alarmed. 

(e) Such games generally interest spectators. 

(/) Black seems to possess a slight advantage, yet can only draw 
the game. 

(g) The above game is more evidently drawn all the way through 
than is usually the case. 



Game XIV. 
IRREGULAR OPENING. 



Arranged and played by Mr. Charle3 Tarbell, of New York. 
Jgp* This gentleman, although unfortunately blind, is 
really a fine player. 





BLACK. 


WHITE. 


1. 


11 to 15. 


21 to 17. 


2. 


7 


u 


11. 


25 " 21. 


3. 


9 


<( 


14. 


23 " 19. 


4. 


5 


u 


9. 


26 " 23. 


5. 


9 


(( 


13. 


30 " 25. 


6. 


15 


<< 


18. 


22 " 15. 


7. 


11 


u 


18. 


24 " 20. 


8. 


13 


« 


22. 


27 " 24. 


9. 


18 


li 


27. 


25 " 9. 


10. 


6 


it 


13. 


32 " 23. 


11. 


8 


u 


11. 


23 " 18. 


12. 


3 


u 


7. 


19 " 15. 


13. 


10 


u 


19. 


24 " 8. 


14. 


4 


CI 


11. 


29 " 25. 


15. 


7 


u 


10. 


18 " 14. 


16. 


10 


u 


17. 


21 " 14. 


17. 


13 


u 


17. 


25 " 22. 


18. 


17 


cc 


26. 


31 " 22. 


19. 


11 


ti 


15. 


28 " 24. 


20. 


2 


II 


7. 


22 " 17. 



70 The Elements of Draughts; 





BLACK. 




WHITE. 


21. 


T to 11. 




14 to 10. 


22. 


12 " 16. 




10 " T. 


23. 


16 " 19. 




T " 3. 


24. 


19 " 28. 


Drawn. 


3 " T. 



We forbear comments, as the originality will be observed 
by all good players. 









Game XV. 






[Prom Anderson 


's Work 


J 




(i 


'laied and 


LADY. 1 


i? • 




BLACK 


. 




WHITE. 


1. 


11 to 15. 




23 to 19. 


2. 


8 


ct 


11. 




22 


" IT. 


3. 


9 


H 


13. 




IT 


" 14. 


4. 


10 


(I 


11. 




21 


" 14. 


5. 


15 


« 


18. 




26 


" 23. 


6. 


13 


U 


IT. 


(a) 


19 


" 15. 


T. 


4 


u 


8. 




23 


" 19. 


8. 


6 


a 


9. 




24 


" 20, 


9. 


1 


a 


6. 




28 


" 24. 


10. 


9 


c< 


13. 




15 


" 10. 


11. 


6 


H 


15. 




19 


" 10. 


12. 


11 


a 


15. 


(o) 


31 


" 26. 


18. 


8 


u 


11. 




25 


" 22. 


14. 


18 


a 


25. 




29 


" 22. 


15. 


11 


a 


16. 




20 


" 11. 


16. 


T 


a 


16. 




26 


" 23. (c) 


IT. 


it 


u 


26. 




23 


" 19. 


18. 


16 


a 


23. 




2T 


" 11. 



or, Beginners' Sure Guide. 71 





BLACK. 




WHITE. 


29. 


13 to 11. 


(d) 


80 to 23. 


20. 


H " 22. 




23 " 19. 


21. 


22 " 26. 




11 " 8. 


22. 


26 " 81. 




8 " 4. 


23. 


31 " 26. 




4 " 8. 


24. 


26 " 22. 




8 " 11. 


25. 


22 " 18. 


Drawn. 


32 " 28. 




Notes* 





(a) The match games between Anderson and Wylie abound with 
these singular moves. 

(5) Confusion is generally the aim of Anderson, for he thus obtains 
an opportunity for the display of his great genius. 

(c) An " Andersonian " arrangement, peculiarly " Scottish." 

(d) Few players would make this move, yet Black has nothing bet- 
ter ; 26 to 31 would give him the " laboring oar." 



Game XVI. 

Match game played between Messrs. Anderson and Wylie. 
Communicated to the author by Mr. A. H. Mercer, who was 
present at their match at Edinburgh in 1847. 

"second double corner." 



black (Anderson). 

1. 11 to 15. 

2. 15 " 24. 

3. 8 " 11. 

4. 11 " 16. 

5. 16 " 20. 

6. 10 " 14. 
1. 4 " 8. 



white (Wylie). 

24 to 19. 

28 " 19. (a) 
22 " 18. 

25 " 22. 

29 " 25. 
18 " 15. 
22 " 18. 



72 The Elements of Draughts ; 



1CK 


(Anderson). 


WHITE 


(Wylie). 


8. 


1 to 11. 


26 to 22. (b). 


9. 


11 


a 


16. 


30 


" 26. 


10. 


3 


a 


T. 


2T 


" 24. (c) 


11. 


20 


u 


2T. 


31 


« 24. 


12. 


16 


u 


20. 


32 


" 2T. 


13. 


T 


u 


10. (d) 


15 


44 11. 


14. 


8 


u 


15. 


18 


41 11. 


15. 


9 


u 


13. 


22 


44 18. (6) 


16. 


5 


u 


9. 


11 


" 8. (/) 


IT. 


2 


a 


7. 


8 


44 3. 


18. 


13 


a 


IT. 


3 


44 8. 


19. 


IT 


u 


22. 


26 


44 IT. 


20. 


T 


u 


11. 


8 


44 15. 


21. 


12 


u 


16. 


19 


44 12. 


22. 


10 


a 


28. 


IT 


44 10. 



23. 6 " 29, and wins. 

Notes. 

(a) This forms Anderson's " Second Double Corner.' 

(6) White has no better move. 

(c) 22 to 17, or 32 to 28, loses immediatel/y. 

{d) Quiet. 

(e) Why not make a King at once t 

(/) Must do it now. 



Game XVH. 
wtlie's 18th game. 



At the fourth move there is a variation from the 
44 Second Double Corner." As this move is liable to occur 
in play, I give it for the benefit of players who have not 
access to Wylie's work. 



or, Beginners' Sure Guide. 73 



IEREGTJLAB OPENING. 





BLACK, 




WHITE. 


1. 


11 to 15. 


24 to 19. 


2. 


15 


u 


24. 


27 


u 


20. (a) 


3. 


8 


u 


11. 


22 


a 


18. 


4. 


10 


u 


15. 


25 


a 


22. 


5. 


15 


u 


19. (b) 


23 


a 


16. 


6. 


12 


t( 


19. 


29 


a 


25. 


1. 


9 


u 


14. 


18 


a 


9. 


8. 


5 


u 


14. 


32 


u 


27. 


9. 


4 


(« 


8. 


22 


a 


17. (c) 


10. 


19 


u 


23. 


26 


u 


19. 


11. 


8 


u 


12. 


11 


a 


10. 


12. 


6 


u 


24. 


28 


u 


19. 


13. 


11 


a 


16. 


20 


(i 


11. 



14. 1 " 32, and wins. 

Notes* 

(a) 28 to 19 is the ordinary jump ; and one which we prefer, in this 
case. 

(5) Very strong, and attacking. 

(c) Fatal for White ; now follows a truly beautiful combination. The 
aame position occurs in the 58th game of Walker's edition of Sturges ; 
yet the opening is original with Wylie. 



Game XVIII, 

Played between Mr. Dutton and a friend. 

"WHILTEE." 

black (Mr. Dutton). white (Friend). 

1. 11 to 15. 23 to 19. 

2. 1 " 11. 22 u 17. 



74 The Elements of Draughts; 



ck (Mr. 


Dutton). 


WHITE 


(Friend). 


3. 11 to 16. 




26 to 23. 


4. 16 


u 


20. 




31 


u 


26. (a) 


5. 2 


a 


7. 




11 


a 


13 


6. 8 


il 


11. 




19 


If 


16. 


7. 12 


u 


19. 




23 


a 


16. 


8. 4 


u 


8. 




16 


u 


12. 


9. 11 


u 


16. 




25 


l< 


22. 


10. 9 


a 


14. 




22 


a 


17. 


11. 8 


to 


11. 




26 


a 


23. (b) 


12. 15 


a 


18. 


w 


29 


a 


25. 


13. 5 


a 


9. 




24 


u 


19. 


14. 11 


a 


15. 




28 


(( 


24. 


15. 1 


u 


11. 




32 


u 


28. 


16. 1 


a 


5, 


and 


wins, (d) 







Notes. 

BY A SPECTATOR. 

(a) Anderson lays down 30 to 26 as a draw, but 31 to 26 is probably 
as good, if well followed up. 

(&) Here Mr. D's. opponent hesitated for some time. 

(G) Dutton played this move with his usual boidness, when aware 
that he has a winning position— literally " walking into his friend's 
affections." 

(6?) This game is a favorite with Dutton ; and his success in this en- 
counter is characteristic, unless playing against an opponent well " up" 
in Anderson's draw. 



Game XIX. 

Played between " Martin, of Boston," and a Boston ama- 
teur ; with notes by " Martin." 

"the cross." 
BLACK ("Martin' ). white (Mr. ). 

1. 11 to 15. 23 to 18. 

2. 8 " 11. 18 " 14. (a) 



or, Beginners' Sure Guide. 75 



ILAC 


k (Martin). 


WHITE 


(Mr. ). 


3. 


9 to 18. 


24 to 19. 


4. 


15 


u 


24. 


22 


a 


8. 


5. 


4 


cc 


11. 


28 


c< 


19. 


6. 


11 


u 


15. 


27 


a 


24. 


1. 


5 


(t 


9. 


25 


a 


22. 


8. 


9 


u 


14. 


22 


(( 


17. 


9. 


7 


u 


11. 


29 


u 


25. 


10. 


3 


u 


8. 


26 


« 


23. 


11. 


6 


u 


9.(6) 


• 17 


a 


13. (c) 


12. 


15 


u 


18. 


13 


(I 


6. 


13. 


18 


u 


27. 


32 


u 


23. 


14. 


2 


u 


9. 


25 


a 


22. 


15. 


11 


C( 


15. 


30 


u 


26. 


16. 


8 


(1 


11. 


22 


a 


17. 


17. 


9 


(< 


13. 


26 


t< 


22. 


18. 


1 


a 


5. 


31 


a 


27. 



19. 5 " 9, and wins. 



Notes. 



(«) I believe this move to be safe, although I prefer Black's game, as 
being for some time easier to play. 
(6) A trap which might catch a fine player in " off-hand " play. 
(c) I regard this as being the losing move. 



Game XX. 
Played between " Harry," of Buffalo, and Mr. Jenkinn. 

SINGLE COENEE. 

black ("Harry"), white (Mr. Jenkins). 

1. 11 to 15 22 to 18. 

2. 15 " 22 25 " 18. 

3. 12 " 16. 29 " 25. 

4. 16 " 20. 25 " 22. 



76 The Elements of Draughts; 

black '" Harry"), white (Mr. Jenkins), 

5. 8 to 12. 18 to 15. 

6. 10 " 19. 24 " 15, 
'7. 4 " 8. 21 " 17. 

8. 7 " 10. 23 " 19. (a) 

9. 9 " 14. 17 " 13. 

10. 14 " 18. 22 " 11. (b) 

11. 18 " 22. 27 " 23. 

12. 5 " 9. 23 " 18. 

13. 3 " 7. 32 " 27. 

14. 1 " 5. (e) 28 " 24. (d) 

15. 12 " 16. 19 " 3. 

16. 10 " 28. 3 " 1. 
11. 28 " 32. 13 " 6. 

18. 32 " 21. 26 " 11. 

19. 21 " 14, and wins. 

Notes. 

(a) This " plugging " frequently fails in its object. 
(&) Seems to lack " material." 

(c) Decidedly "aggressive." 

(d) The game is now critical and interesting. 



Game XXI. 

" DOUBLE COKNEB." * 

Dedicated to Martin, of Boston, by "Harry," of Buffalo. 

BLACK. WHITE. 

1. 9 to 14. 22 to 18. 

2. 5 " 9. 25 " 22. 

3. 10 " 15. 29 " 25. 

* So named from the first move, which is from one double corner to» 
ward the other. 



or, Beginners' Sure Guide. 77 





BLACK. 


WHITE. 


4. 


1 to 10. 


24 to 19. 


5. 


15 " 24. 


28 " 19. 


6. 


11 " 16. 


18 " 15. 


1. 


3 " 1. 


22 " 18. 


8. 


n " 11. 


26 " 22. 


9. 


16 " 20. 


SI " 26. {a) 


10. 


11 " 16. 


32 " 28. (b) 


11. 


1 " 5. 


28 " 24. (c) 


12. 


8 " 11. 


15 " 8. 


13. 


4 " 11. 


18 " 15. (d) 


14. 


11 " 18. 


22 " 18. 



15. 14 " l'T, and wins. 

Notes. 

{a) This move loses the game. Els best, at this stage, is from 2T to 
24, making the exchange. 
(&) He has no other. 

(c) Nothing else. 

(d) Forced to " drink the hemlock." 





Game XXII. 




Original Game by Wylie. 




SINGLE 


OOENEE. 




BLACK. 


WHITE. 


1. 


11 to 15. 


22 to 18. 


2. 


15 " 22. 


25 " 18. 


3. 


8 " 11. 


29 " 25. 


4. 


4 " 8. 


24 " 20. 


5. 


10 " 15. 


25 " 22. 


6. 


12 " 16. 


21 " 11. 


fc 


8 " 12. 


27 u 24. 


8. 


16 " 19. 


23 " 16. 



1* 



78 The Elements of Draughts; 





BLACK. 


WHITE. 


9. 


12 to 19. 


20 to 16. (0) 


10. 


11 " 27. 


18 " 11. (ft) 


11. 


1 " 16. 


31 " 15. 


12. 


9 " 13. 


26 " 23. 


13. 


16 " 20. 


15 " 11. 


14. 


6 " 10. 


23 " 18. 


15. 


2 " 7. 


11 " 2. 


16. 


1 " 6. 


2 " 9. 



17. 5 " 23, and wins. 

Notes. 

(a) We believe that this variation of the Single Corner game is no- 
ticed only by Wylie. In every case he makes it a losing game for 
White. 

<o) Strange as it may appear, Mr. Wylie does not give any other 
move or jump at this point. Yet we believe that 32 to 1& makes it 
possible to draw. 



Game XXIII. 

Match Game played between Messrs. Wylie and Price fox 
£50 a side. 

"ayeshike lassie." 



LA< 


3K (Wylie). 


white (Price). 


1. 


11 to 15. 


24 to 20. 


2. 


8 " 11. 


28 " 24. 


3. 


4 " 8. 


23 " 19. (a) 


4. 


15 " 18. 


22 " 15. 


5. 


11 " 18. 


32 " 28. 


6. 


10 " 14. 


25 " 22. 


1. 


18 " 25. 


29 " 22. 


8. 


1 " 11. 


22 ".17. 



or, Beginners' Sure Guide. 79 



BLA) 


2K (Wylie). 


white (Price). 


9. 


14 to 18. 


17 to 13. (b) 


10. 


9 


a 


14. 


30 


u 


25, 


11. 


5 


u 


9. 


26 


K 


23. 


12. 


2 


u 


7. 


31 


a 


26. 


13. 


1 


M 


5. 


19 


a 


15. (c) 


14. 


7 


u 


10. 


24 


a 


19. 


15. 


3 


u 


7. 


28 


u 


24. 


16. 


14 


u 


17. 


21 


a 


14. 


It 


10 


a 


17. 


23 


(( 


14. 


18. 


11 


a 


18. 


25 


u 


21. 


19. 


18 


cc 


22. 


26 


u 


23. 


20. 


9 


u 


18. 


23 


« 


14. 


21. 


22 


a 


26. 


19 


a 


15. 


22. 


26 


a 


31. 


27 


a 


23. 


23. 


8 


u 


11. 


15 


u 


8. 


24. 


6 


(C 


9. 


13 


(C 


6. 


25. 


7 


u 


10. 


14 


CI 


7. 


26. 


31 


u 


27. 


21 


u 


14. 



27. 27 " 4, (d), and Mr. Price resigned. 

Notes. 

(a) Forming the " Ayrshire." 
(&) He has no other good move. 

(c) Loses. 26 to 22 looks better. 

(d) Beautiful ending. 



Game XXIV. 

THE "WHILTEE," 

[From Anderson's Work.] 
BLACK. WHITE. 

1. 11 to 15. 23 to 19. 

2. 9 '' 14. 22 " 17- 



8o The Elements of Draughts; 





BLACK. 






WHITE. 


3. 


7 to 11. 


(a) 


25 to 22. 


4. 


11 


u 


16. 


(*) 


26 


u 


23. 


6. 


5 


a 


9. 




IT 


u 


13. 


6. 


3 


a 


7. 


M 


29 


a 


25. 


7. 


1 


a 


5. 




22 


a 


17. 


8. 


8 


a 


11. 




31 


u 


26. 


9. 


16 


u 


20. 




19 


(< 


16. ($ 


10. 


12 


a 


19. 




23 


u 


16. 


11. 


14 


(( 


18. 




26 


a 


23. 


12. 


18 


(( 


22. 


(<0 


25 


(( 


18. 


13. 


15 


u 


22. 




23 


u 


18. 


14. 


22 


<< 


25. 




17 


t< 


14. 


15. 


10 


u 


1,7. 




21 


a 


14. 


16. 


11 


u 


15. 


(/) 


18 


u 


11. 


in. 


9 


a 


18. 




30 


u 


21. 


18. 


18 


a 


22. 




21 


u 


17. 


19. 


22 


u 


26. 




24 


u 


19. 


20. 


26 


u 


30. 




19 


a 


15. (ff) 


21. 


30 


a 


26. 




17 


u 


14. 


22. 


26 


a 


22. 




13 


u 


9. (h) 


23. 


6 


u 


13. 




15 


a 


10. 


24. 


22 


a 


17. 


Drawn. 














Notes* 









(a) This forms the " Whilter." 

(&) One of Anderson's favorite moves. 

(c) All secure. 

(d) The battle now commences in earnest. 

(e) Making a " point " for the *■* kingdom." 
(/) A singular, but sound move. 

(g) There are better looking moves, but Black can regain the pieces 
{ti) He has cithing better. 



or, Beginners' Sure Guide. 81 



THE 



THEORY OF THE MOVE, 

AND ITS CHANGES. 



In compliance with a wish expressed by our correspond- 
ents, we insert the '* Theory of the Move, and its Changes," 
by Mr. John Paterson, of Scotland. Although this ex- 
tends the work some thir ty-six pages beyond our original 
calculation, and is of itself well worth the price of the entire 
work; still, as the price had been named, and many orders 
inclosing remittances forwarded, no other honorable course 
remained open. We congratulate our readers, and assure 
them that a careful examination of the following beautiful 
and scientific analysis, will well repay the attention bestowed. 

[From Anderson's Work.] 
Definitions. 

1. The Move. — To have the move signifies the occupying 
of that position on the board, which, in playing piece against 
piece, backward or forward, without regard to the others, 



82 The Elements of Draughts; 

till only one square intervene between the pieces in each 
pair, will eventually cause the player who occupies that posi- 
tion, to have the last play. 

2. Homologous. — A term signifying of the same descrip- 
tion ; thus, reckoning from the single corner the 1st,* 3d, 
5th, and 7th rows, and all the squares in them are homolo- 
gous, and are quoted as the odd set. Also, the 2d, 4th, 6th, 
and 8th rows, and all the squares in them are homologous, 
and are quoted as the even set. 

3. Squares. — A term used by Payne and others, signify 
the whole of the intervening squares, all the pieces on the 
board being paired. 

4. A Capture. — When either of the players takes one, 
two, three, or any number of pieces at one play. 

5. Counters. — Small pieces, which the learner may place in 
the room of the pieces captured, to show where they have 
been. 

6. Homologous Counters. — All those counters which are 
in the same set with each other. 

7. A Capture from the Odd Set. — An expression signify- 
ing that the capturing piece is in the odd set. 

8. A Capture from the Even Set. — A similar expression ; 
signifying that the capturing piece is in the even set. 



Method of Calculating the Move. 

To find whether you have the move when it is your turn 
to play : 

Rule. — Add together all the pieces, both black and white, 
in either set of homologous rows, and if their sum is odd, 
you have the move ; but if even, you have not. 



or, Beginners' Sure Guide. 83 

As in reckoning from your single corner, according to 
definition 2d, the rows in the odd set, whether taken verti- 
cally or horizontally, always begin with a black square (the 
play being on the black squares), and the rows in the even 
set with a white square ; this furnishes an excellent guide to 
the eve in applying the rule ; and it matters not whether you 
use the vertical or horizontal rows, the squares in these 
being identical, though we count vertically, and from our 
own side of the board toward that of our adversary. 

Note. — In place of adding the pieces, you can calculate 
the move with equal accuracy by adding the vacant squares 
in either set ; an odd number of vacant squares will indicate 
that you have the move ; for if the pieces in either set are 
odd, the number of vacant squares in either set must also 
be odd. 

Abbreviation of the Rule. 

Add together all the single pieces and all the single vacant 
squares on the rows of either set. and if their sum be odd, 
you have the move, but if even, you have not. Let it be 
observed, that you will find the single pieces only on such 
rows of the set as contain one piece, and the single vacant 
squares only on such as contain three pieces ; and you omit 
all rows of the set which contain two or four pieces, because 
an even number does not affect the result, the principle of 
the rule being obviously to ascertain whether the number in 
either set is odd or even, without regard to its magnitude. 
In using this abbreviated form of the rule, you will never 
count more than one on any given row ; and three will be 
the greatest sum in the whole set when you have the move, 
and four when you have not. 

The rule may be expressed otherwise, thus : Find all those 
rows in either set which contain an odd number of pieces, 



84 The Elements of Draughts; 

if the sum of these rows be odd you have the move, but if 
even, you have not. In the original series of letters to Mr. 
Neilson, while we gave this second form of the abbreviated 
rule, we also showed it to be less expeditious than the first, 
though it has a more specious appearance. It is better 
always to adhere to the same method, and we decidedly 
prefer the first. 

To find the Principle which determines the 
Squares. 

In equal forces the entire pieces may be distributed into 
pairs, consisting each of pieces mutually adverse,* and form- 
ing two classes, arising from a difference in their internal 
arrangement. In class 1st may be reckoned every pair 
whose two pieces are in the same set with each other ; and 
in class 2d, every pair whose two pieces are in contrary 
sets. In a pair of the 1st class, the intervening squares 
being always odd, may be represented by the odd number 1. 
In a pair of the 2d class, the invariably even intervening 
squares, by the even number 0. 

Now, let the number of pairs in these two classes be re- 
spectively denoted by p and q; then the sum of all the in- 
tervening squares on the board is equal to p x 1+q x 0==p. 
Hence, if p is odd, the squares are odd, and if p is even, 
the squares are even. That is, if the number of pairs in 
class 1st is odd, the squares are odd ; but if not, they are 
even. 

To find an Easy Method of Calculating the 
Squares. 

In a pair of the 1st class, the intervening squares being 
always odd, may be represented by one of the pieces com- 

* The demonstration will equally apply, though the pieces should be 
paired without any regard to color. 



or, Beginners' Sure Guide. 85 

posing that pair ; say, for example, the black piece, if the 
pair is in the odd set, or the white piece, if in the even set. 
In all the pairs of this class the sum = the number of pairs 
= p. In a pair of the 2d class, represent the invariably 
even squares by both pieces when the black piece is in the 
odd, and consequently the white piece in the even set ; but 
if the pieces are not so situated, add neither of them. In all 
the pairs of this class, the sum = 0, or = an even number, 
which does not affect the result. By this process, it is ob- 
vious that every black piece in the odd, and every white 
piece in the even set is counted, and yet the result is not 
different from that obtained by the previous method ; for, 
the entire sum of the squares = p -\- 0, or p -f- an even 
number, and is, therefore, of the same affection with p. 

Hence, if the sum of the black pieces in the odd set, and 
of the white pieces in the even set of homologous rows is 
odd, the squares are odd ; but if not, the squares are even. 

Method of Calculating the Move Demonstrated. 

By adding the men to this sum, the move is calculated 
according to the principle involved in the long-established 
rule enunciated by Mr. William Payne, Teacher of Mathe- 
matics, in his treatise on Draughts, published in 1756. 
Had the process of simplifying Payne's rule terminated at 
this point, it would still have been a very considerable im- 
provement of his method, as the determination of the squares 
is much facilitated, and proceeds upon a system exactly 
analogous to the new system of calculating the move. It 
was the leading step which, after a brief interval, and within 
the same season, conducted us to the discovery of the rule 
as it now stands. A slight transmutation of form accom- 
plishes the metamorphosis, so slight, indeed, that the reader, 
with little effort, may connect in his memory and his judg» 



86 The Elements of Draughts; 

inent ; and in both with equal facility, the two improved 
methods, one of which enables him to work out Payne's 
original method after a superior fashion, and with consider- 
able addition of speed, while the other supersedes it alto 
gether, or rather, being that method changed into a more 
beautiful form, reveals almost instantaneously the state of 
the move. 

The first improved form of Payne's original rule may be 
thus expressed : Add the black in the odd, and the white 
in the even set to all the white, and if their sum be odd, 
you have the move, but not otherwise. Here it is obvious 
that the white in the even set are in reality repeated, being 
included in " all the white." Now, any whole number when 
repeated, must, of necessity, yield a sum which is even ; and 
which, on that very account, must be adjudged to possess no 
efficacy in contributing to the final result, whatever it is, in 
any imaginable case, and consequently the addition of this 
even sum will not make any change in the previous quantity 
as regards its being odd or even, and therefore it will not 
affect the state of the move. Let us reject it, therefore ; 
and what now remains of the white ? Only the white in the 
odd set ; and the rule, now extricated from the burden of 
vain repetitions, stands before us in all its theoretical sim- 
plicity. Add together the black in the odd, and the white 
in the odd. In other words, if the sum of the black and 
white in the odd set is odd, you have the move, but not 
otherwise ; which is the rule to be demonstrated.* 

Otlierwise 9 

Calculate the move by a slightly amended form of Payne's 

* As those rows which are odd to the one player are even to the 
other, and vice versa, it is not absolutely necessary, in stating a rule 
of this kind, to mention more than one set. 



or, Beginners' Sure Guide. 87 

rule,* for a single pair of each of the two classes before 
mentioned, and multiply the sums thus obtained respectively 
by p and q, the number of pairs in each class ; if the sum 
of the product is odd, you have the move; if even, you 
have not. Kow, in a pair of the 1st class, the sum of the 
men and squares is invariably an even number, and as we 
may choose any even number, let us count both pieces, when 
the pair is in the odd set, but neither of them when the 
pair is in the other set, for 2 and are both even numbers. 
The first class consists of p pairs, of which let m pairs be 
in the odd set, and n pairs in the even set. Hence, the sum 
of the men and squares in the first class will be 2m+n x 0=2m, 
an even number not affecting the result. Hence, 2m pieces 
in the odd set express the sum of the men and squares in 
class first. 

Again, in a pair of the second class, consisting of q pairs, 
the sum of the men and squares is invariably an odd num- 
ber, and as we may choose any odd number, let us select 
the odd number 1 for that purpose, or, which amounts to 
the same thing, let us, in conformity to the plan adopted in 
the first class, count all those pieces in the q pairs, which 
are in the odd set. This number, in every possible arrange- 
ment of the pieces in the second class will invariably be q. 
For, as every pair has a piece in each set, in q pairs there 
will be q pieces in each set. 

Hence we have q pieces in the odd set, representing the 
sum of the men and squares in the second class. But it has 
already been shown that 2m pieces in the odd set, represent 
the sum of the men and squares in the first class. There- 
fore, their sum, viz. : 2m+q pieces, which are all the pieces 
in the odd set on the board, will express the sum total of 

* If the sum of the men and squares is odd, you have the move,* 
If even, you have not. 



88 The Elements of Draughts ; 

the men and squares, and consequently will determine the 
move. Hence, etc. — Q. E. D.* 

Note. — In following this demonstration, the reader is re* 
quested to take a particular example, and to substitute for 
m » n » P> <1> their actual numerical values in that example. 
He will thus test the truth of that demonstration ; but if 
the result be different, the reader may rest satisfied that he 
has committed some mistake. 

Scholium* 

It has been seen that p determines the squares, q the 
move. If q is odd, you have the move, and the pieces in 
either set are odd ; if p is odd, the squares are odd. In 
finding the squares, you count only one of the pieces in 
each of the p pairs ; and in the q pairs you count both 
pieces, or neither of them. But, on the contrary, in calcu- 
lating the move, you count only one of the pieces in each 
of the q pairs ; both pieces in the p pairs, or neither of 
them. This is the root of the matter. 

Cor. 1. — In place of saying that the player had the move, 
we may express our meaning by stating that the pieces in 
each set are odd ; and when the player has not the move, 
we may conveniently express the fact by stating that the 
pieces in each set are even. 

Cor. 2. — So long as no taking occurs, and the pieces on 
each side are equal, the entire number of pieces in each set 
will be alternately odd and even ; for at each play a piece is 
deducted from the pieces in one set and annexed to those in 
the other set; and as the players also play alternately, the 
one player will always find the pieces in each set odd, when 

* The demonstration would equally apply, although the pairs were 
chosen by ballot, and without reference to color. 



or, Beginners' Sure Guide. 89 

it is his turn to play, and the other, in the same circum- 
stances, will always find them even. 

Cor. 3. — Hence, in ordinary play (that is, when no taking 
occurs), the move is never altered, and hence the grand key 
for opening the mysteries of the great problem of the 
change of the move is negatively revealed ; for in the dis- 
cussion of this problem we throw entirely out of considera- 
tion all ordinary plays, as having no effect whatever in in- 
ducing any change in the state of the move. 

Cor. 4. — A capturing play, abstractly considered, imme- 
diately alters the move, for the piece so played continues in 
the same set, and thus the pieces in each set will continue 
exactly the same in number as before, for we are not sup- 
posing any of the pieces to be lifted from the board. Hence, 
if, by mistake, a player should play a piece two squares 
instead of one, the move would be changed, and vice versa ; 
if the move has been found to be changed when no captures 
have taken place, either such a mistake must have occurred, 
or one of the parties must have played twice in succession, 
which amounts to the same thing. 

Cor. 5. — If an even number of pieces be arbitrarily re- 
moved, without any play, from each set, the move will not 
be changed, for if the pieces in each set were previously odd, 
they will continue odd; and if previously even, they will 
continue even. 

Cor. 6. — If an odd number of pieces be arbitrarily re- 
moved, without any play, from each set, the move will be 
changed; for if the pieces in each set were previously odd, 
they will beeome even; and if previously even, they will 
become odd. 

The three preceding corollaries furnish the principle for 
determining the conditions on which the move either be- 
comes changed or remains unaltered ; for if one capturing 
8* 



90 The Elements of Draughts ; 

play alters the move, a second will restore the original state 
of the move, while a third will alter it again ; so that an odd 
number of capturing plays, or captures, will indicate, per se, 
a change in the move ; and as for the pieces taken, we may 
suppose them to continue to lie on the board until the whole 
series of capturing operations is terminated, when they may 
be arbitrarily removed without any play, and will indicate 
by their number in either set their own proper effect upon 
the move. Let us examine the result of the combination of 
the two effects separately produced by the captures and by 
the pieces taken, which by Definition 5th are called coun- 
ters. If the captures are odd, they will change the move ; 
and if the counters recovered in either set (not in both sets) 
are odd, they by themselves would also effect a change in 
the move. In this case the two effects neutralize each other, 
and the move will not be changed. If the captures and 
those counters which are recovered in either set are both 
even, neither will tend to change the move, and therefore 
their joint action will have no effect upon the move. If the 
captures are odd and the counters are even, or the captures 
even and the counters odd, the move will be changed by the 
odd captures in the one instance, or by the odd counters in 
the other, for even captures and even counters are quite 
inert and have no tendency to change the move. If, then, 
they are both odd, or both even, the move is not changed ; 
but if the one is odd and the other even, the move is 
changed. Now, when they are both j odd, or both even, 
their sum must be even ; and if the one is odd and the other 
even, their sum must be odd. Hence the following import- 
ant rule, to be applied in all cases where the pieces on each 
side are equal at the beginning and the end of captures. 



or, Beginners' Sure Guide. 91 



General Rule of Captures and Counters. 

If the sum of the captures and homologous counters is 
odd, the move is changed; if even, the move is not 
changed. This rule is susceptible of an easy mode of ab- 
breviation. The counters may be entirely dismissed, but. 
not without being paired off with a portion of the captures. 
The most natural method which suggests itself, and which 
has the merit of extreme simplicity, is to pair off a counter 
with the corresponding capture. If one, three, five, or any 
odd number of pieces have been taken at one capture, these 
may all be paired off, for the sum of one capture and of an 
odd number of counters must be even, and may therefore be 
disregarded in the calculation. If, however, among the 
counters selected it should happen that two, four, six, or 
any even number of them had been taken at one capture, it 
is obvious that these counters may be paired off among 
themselves, and that the capture itself is not paired off 
with these counters, but is left outstanding, and must be 
reckoned in the sum total of the captures. Having pre- 
mised these principles for our guidance, we proceed to show 
how the work of abbreviation may be accomplished. Let 
us suppose we have, according to the general rule, taken 
the sum of all the captures, and of those counters whieh are 
in the odd set. 

Now, a counter is a piece taken, and all the counters in 
this instance, being in the odd set, must have been taken 
by pieces played from and to the contrary or even set, and 
must if possible be paired off with the captures from that 
even set. This being done, all the counters in the odd set, 
and all the captures from the even set (always excepting, as 
aforesaid, any of those captures in which an even number 



92 The Elements of Draughts; 

of pieces may have been taken), have been paired off against 
each other, and have disappeared from our notice, leaving 
merely a portion of the captures, viz. those which were 
made from the odd set. But if, in applying the general 
rule, we had selected the counters in the jsven set, then, after 
pairing off, nothing would have been left but the captures 
from the same or even set, with sometimes a capture or two 
from the odd set, when two, four, or other even number of 
pieces had been taken at once. Hence this simple rule. 

Abbreviated Rule of Captures* 

If the sum of all the captures from one set, without ex- 
ception, and of those captures from the other set in which 
an even number of pieces may have been taken, is odd, the 
move has been changed ; if even, the move is not changed. 
Hence, as all captures of an even number of pieces must in- 
variably be counted from whichever set they are made, it 
follows that in every single mutual capture of two, four, or 
other even number of pieces, the move is not changed, as 
the capture made by each party must in this case be counted, 
and the captures are two, an even number indicating no 
change. But in every single mutual capture of one, three, 
or other odd number of pieces, since the result must depend 
upon the situation of the capturing pieces, or the captured 
pieces, if these are in contrary sets, the move is changed., 
but if they are in the same set, the move is not changed. 

Another Form of the General Rule. 

♦ 

If the sum of all the captures — of the homologously situ- 
ated pieces to be taken — and of giving or striking moves 
followed by actual captures resulting from these, is odd, the 
move is changed*; if even, the move is not changed. 



or, Beginners' Sure Guide. 93 



The Theory of the Move ana" Its Changes applied 
to Unequal Forces, 

This curious and novel branch of draught science naturally 
resolves into two cases, but the application of the theory is 
alike in both. The first case is that in which one party has 
one, three, five, or any other odd number of pieces ahead ; 
the second, that in which one party has two, four, six, or 
any other even number of pieces ahead. In the first case 
the sum of the pieces is invariably odd in one set of homo- 
logous rows and even in the other ; for as the sum total of 
black and white pieces on the whole board is an odd num- 
ber, it cannot be divided into two odd or two even numbers, 
In the second case, as the total number of the pieces on the 
board is even, it is obvious that if an odd number of pieces, 
the number in the other set must also be odd, and if an 
even number of pieces is one set, the number in the other 
set must also be even, as in the case of equal forces, 
Hence, generally, if the pieces in any set are either odd or 
even, when you have to play, they will always continue to 
be so, when it is your turn to play, so long as no taking 
occurs, for ordinary plays never in any case, whether of 
equal or unequal forces, produce the slightest change in this 
arrangement Thus, for example, suppose when it is your 
turn to play, you find an odd number of pieces in one set 
and an even number of pieces in the other, this arrangement 
will constantly recur, as often as you have to play, provided 
that no captures have taken place ; and in the same circum- 
stances, your adversary will always find the arrangement of 
the pieces in each set to be contrary. When a piece is 
played between two others, so as to insure the capture of one 
of them, it invariably obtains the move over the other, in 
consequence of the capture, which is a double advantage 



94 The Elements of Draughts; 

belonging to this position. Of the two squares in the double 
corner, one is situated in the odd, the other in the even set. 
In pursuing a king into the double corner with two kings, 
it is easy to calculate into which of the two squares you will 
be able to force an entrance. You have only to observe in 
which of the two sets an odd number of pieces is placed, 
when it is your turn to play, and you will invariably find 
that you will succeed in dislodging your adversary from that 
square in the double corner which is situated in the same 
set. When the pieces are reduced to two on each side, and 
you have not the move, you cannot take two for one ; for 
to effect this the three captured pieces, except in the case 
of slipping, explainable on the same principle, must be in 
the same set before you play, which cannot be unless you 
have the move. When the pieces have been reduced to 
three on each side, and you have the move, you cannot 
give two at once and take three, nor give two separately to 
the same piece, and take any two, and fix the third piece of 
your opponent ; and in the same circumstances, by giving 
two pieces separately to other two, you cannot capture these 
last two, and also fix the third. But it is possible, when 
you have the move, to capture the three pieces of your op- 
ponent by first giving two separately to the same piece, or 
to give two for two at once and fix the third ; or to give two 
separately to other two, and fix one of these last two by 
capturing the others. These cases are reversed when you 
have not the move. On the open board, and in the same 
diagonal line, three pieces are required on one side to effect 
or enforce the taking of one for one. But it is not possible 
to effect an exchange under these conditions, unless the 
party having the three pieces has the move upon his adver- 
sary's single piece; that is, unless an odd number out of 
these four is in homologous rows, when it is his turn to 



or, Beginners' Sure Guide. 93 

play. Such an arrangement, once happening, would be 
permanent, if no captures were attempted, and if the play 
wej^e restricted to these four pieces. Hence, in Sturges' 
Critical Position, No. 18, in which three white kings on the 
open board are against two black kings communicating with 
the two double corners. Since, with White to play, this ar- 
rangement obtains against each of the black kings, it is 
obvious that White, by directing his whole force against that 
piece of his adversary which is first played, would take that 
piece at the fourth play. To prevent this catastrophe, 
Black is compelled to play his second piece to square 28. 
At this stage two rounds are finished, and the original ar- 
rangement of the pieces is reversed, together with the tac- 
tics of both parties. White can no longer compel the first 
black king to discontinue play to avoid capture ; on the 
contrary, by his next shift he can force him to continue 
play, and to retire, so as to enable White to occupy the 
second diagonal with the whole of his forces. If Black now 
withdraw his other piece to square 32, the move will again 
be reversed ; and White, examining the position of his three 
pieces, and either of Black's, will find that the pieces thus 
reckoned in each set are odd, while he can so dispose his 
pieces as to immediately enforce a mutual capture in the 
same diagonal line. At the end of a game it not unfre- 
quently happens that three kings united together against 
four make a protracted resistance, while the attacks of the 
stronger party are generally of an unsystematic, ill concerted, 
wavering, and desultory character, and if finally successful, 
are only so mainly through the exhaustion of the weaker 
party. We recommend this problem to be studied by skill- 
ful players, especially as Payne, Sturges, and others, have 
not given a solution of it. Perhaps most players are not 
aware that the problem has two cases, requiring, doubtless, 



96 The Elements of Draughts; 

distinct modes of strategy, yet nothing can be more obvious 
on actual inspection, for if all the pieces above mentioned 
are placed on the board, the two varieties to which we ad- 
vert will result from giving the first play in succession to 
both Black and White. We proceed to show how the ar- 
rangement of unequal forces in each set is affected by one 
or more captures. To find how the arrangement is affected 
in the odd set, take the following rule : If the sum of all the 
captures, and of those counters which are in that odd set, 
is odd, the number of pieces in the set, if previously odd, 
will become even — to be counted at his proper turn by the 
same player ; and if previously even, will, under like restric- 
tions, become odd. But if the sum is even, the pieces re- 
maining in the set will continue odd or even as at first, if 
these are also counted by the same player at his own turn. 
The same rule, mutatis mutandis, applies to the even set. 
The rule may be more briefly stated by adopting, as a sort 
of conventional phraseology, the terms or expressions natu- 
rally employed in the case of equal forms, thus : If the sum 
of all the captures and of the counters in either set is odd, 
the move is changed in that set ; but if even, the move is 
not changed in that set. Here it is obvious that the rule of 
Captures and Counters must be put twice into operation, in 
order to ascertain the state of the move in both sets ; other- 
wise dismissing the counters. Apply the former " Rule op 
Captures" to each of the sets separately, taking care to 
reckon in both cases all captures upon the board of an even 
number of pieces. In this manner the state of the move is 
found for each set, as in the case of equal forces it is found 
for either, so that the Rule of Captures is in this way used 
twice instead of once, and this is all the difference subsisting 
between equal and unequal forces, in regard to the applica- 
tion of the rule. We might indeed, with perfect propriety, 



or, Beginners' Sure Guide. 97 

and with unerring precision, apply in every instance, and at 
each successive capture, the rule of unequal forces, for as 
no mutual captures are actually simultaneous, a temporary 
inequality of forces is the never-failing accompaniment of 
capturing operations. Nor would the final result procured 
by this means differ from that of the single and compendious 
calculation which presents the aggregate of the changes 
down to the point of restoration of the numerical equili- 
brium — a strong and satisfactory evidence certainly of the 
practicability of ascertaining at every point of our progress 
the precise condition of the elements on which the calcula- 
tion of the move depends, and of their complete independ- 
ence of a fixed and equal proportion between the numbers 
severally representing antagonistic forces. When it occa- 
sionally happens that a series of captures occurs, commencing 
with unequal and terminating with equal forces, what other 
rule has ever yet been discovered that could conduct us, as 
if through the mazes of a labyrinth, with such unequalled 
and wonderful facility, to the concluding stage, when the 
calculation can be instantly verified by a simple inspection 
of the ensuing arrangement of the pieces in the two sets, 
and when the state of the move is found to have been ac- 
curately determined? 



)8 The Elements of Draughts; 

PATERSON'S NOTATION. 



JTIie Board Numbered according to Mr, Paterson's 
Theory. 

The annexed diagram exhibits Mr. Paterson's "Natural 
System of Numbering the Board ;" which is beyond all 

WHITE. 



1 28 1 1 48 1 1 68 I 1 88 


17 m 37 H 5r H 77 H 


1 26 1 1 46 1 | 66 j 1 86 


15 B 35 B 55 B 75 B 


1 24 1 1 44 I I 64 I 1 84 


13 1 33 1 63 H n 9 


I 22 1 1 42 1 1 62 1 1 82 

&&& WSM mm mm 


. . -. 



BLACK, 



<or, Beginners 9 Sure Guide, 99 

praise. Taken in connection with the " theory," which so 
admirably applies to, and harmonizes with this method, both 
form a highly scientific and beautiful illustration of the 
"Move." 

£>n tlie Natural System oC Nurat>erafig tlte Boards 

The idea of numbering the squares on the board mu3t 
(have been coeval with the first attempts to-register the game 
of draughts in writing ; and as the pieces are played on 32 
•squares, so these squares have invariably been numbered 
from 1 t© 32. In the originally crude state of the science, 
this system fully answered the single purpose contemplated, 
that of enabling the student to play the published games 
from the book. Any other purpose it is wholly incapable of 
subserving; and, indeed, it oonveys an inaccurate idea of 
the mutual relations of the squares ; for it cannot be dis- 
puted that the contiguous squares on the board, reckoned 
in a diagonal line, are alternately odd and even, and that it 
is natural to represent them by numbers also alternately odd 
and even. Again, if the odd vertical rows consist wholly 
of odd squares, and the even vertical rows of even squares 
ithese terms of course being used relatively), why should 
this important fact be lost sight of entirely through the 
whole of the book, when it is verily the especial province 
of numbers to convey to the mind, with perfect and supe- 
rior clearness, the distinction between odd and even ? This 
.defect, existing in the system hitherto used, requires a 
•remedy ; and accordingly in the above diagram, a new plan 
as exhibited, which has received the appropriate designation 
of the *' Natural System of Numbering the Board." By 
examining the numbers, you will observe that the digit in 
the tens' place indicates the number of the vertical row; 
while the one in the units 1 place points out the nun>&eJ of 



ioo The Elements of Draughts; 

the horizontal row. The position of each square is deter- 
mined by reference to the two sides of the board, which 
meet at the single corner text to the player who has the 
black pieces, which are now by general consent to be played 
first, and from the smaller numbers. If we may be allowed 
to compare small things with great, we may say that the 
situation of a square on the face of the board, like that of 
a city on the great globe, is ascertained by marking its lati- 
tude and longitude ; and yet this is done with such sim- 
plicity as to remove all appearance of art ; and the player 
may soon learn to attach to each square its particular num- 
ber, in which he will be much assisted by the collocation of 
all the odd and of all the even figures in corresponding ver- 
tical rows. It is not difficult to understand the diagram. 
Thus, if a piece is placed on square 46, it is in the fourth 
vertical row, and in the sixth square from the bottom, as in 
chess, though the author of this article had matured the 
idea before he became acquainted with that game. If, for a 
moment, we were to suppose the vertical rows to be called 
streets,, and the individual squares places of residence in 
these streets, the signification of the diagram would become 
beautifully apparent. Thus, a man in square 57 is located 
in the fifth street, No. 7. A man placed on square 86 re 
sides in the eighth street, which is the last in order. What 
number? No. 6. It would be a vain task to attempt to 
elicit any such information as to the whereabouts of a piece* 
upon the old system; and the most expert proficient in 
draughts would be absolutely puzzled by a few questions of 
this kind in regard to the existing numbers with which he 
is familiar. The two digits expressing the number of any 
square in the natural system must always be of the same 
affection, for in the odd rows only the odd squares, as num- 
bered from the bottom of the boards are rased m play; and 



or, Beginners 5 Sure Guide. ioi 

m the even rows only the even squares. Therefore, both 
digits are invariably both odd or both even, and conse- 
quently are always of the same affection. The two digits 
expressing the number of any square in the row between 
the single corner, which we may term the axis of the board, 
must be the same; as 11, 22, 33, 44, 55, 66, 11, 88. And, 
in the diagonals crossing the axis, the digits constituting 
the number of equi-distant squares are alike and reversed, as 
(13, 31); {24, 42); (15, 51); (35, 53); (26, 62); (11, 11); 
{46, 64); (37, 73); (28, 82); (51, 15); (48, 84); (68, 86); 
while the sum of the digits in any cross diagonal, or their 
difference In any parallel one, is a constant quantity, by 
which curious properties the direction of &ny play can in 
general be readily ascertained. Science has been called the 
knowledge of relations ; and, on the ground of this truthful 
assertion, we may justly and logically lay claim to somewhat 
of a scientific character, as belonging to this new system, 
which is yet merely a candidate for public favor, though it 
might proudly boast (if it had a tongue) of having won the 
admiration of all the great draught players to whom it has 
been communicated. This system is beautifully adapted to 
the theory of the move. The odd and even sets of homolo- 
gous rows are rendered perfectly distinct; the sixteen 
squares in the first, third, fifth, and seventh vertical rows 
being represented by numbers wholly of odd figures, and, 
on the other hand, the sixteen squares in the second, fourth, 
sixth, and eighth vertical rows, being represented by num- 
bers which consist wholly of even figures. 

Hence, in games registered upon the natural system of 
numbering the board, ordinary plays are from odd to even, 
or from even to odd numbers, and the captures can be 
readily perceived; for, as the capturing piece is played from 
odd to oddj or from even to even, the four figures indicating 

9* 



I02 The Elements of Draughts; 

the capture will be respectively a?ll ©dd, or all even. Cap- 
tures could be fi.rther distinguished from ordinary plays by 
placing marks of punctuation between the numbers ; the 
others,, when numerically expressed, having only blank in- 
terstitial spaces. Even the marks might be invested or 
clothed with additional meanings, which they would repre- 
sent as their symbols or indices. In the specimens given,, 
captures of even pieces made from both sets alike,, are dis- 
tinguished by colons, thus (t)> because a colon is a double 
mark, as it consists of too, or an even number of points, and ! 
may,, on that account, be readily associated in the mind, with 
the idea ©f an even number of captured pieces ; and, on the 
other hand^. captures of odd pieces are represented by single 
marks, as a period or comma, because a single mark being 
simply one, that is, edd r may be conventionally used to sug- 
gest the idea of an odd number of captured pieces, without 
in any way overloading or fatiguing the memory. The 
period is employed to denote smch captures made from the 
odd set ;. the comma, to denote similar captures from the 
even set. Hence, in forces known t® he equal^ at the begin- 
ning and end t the following rule is to be observed : 

Mule. — Add together the periods and colons, or the 
commas and colons. If their sum is odd the move is 
changed, bu<t not otherwise. But if the forces are unequal,, 
or not certainly known to be e%ual, the state of the move,, 
in regard to each set,, may be thus ascertained: Mule — Add 
together the periods and colons for the odd set, and the 
commas and colons for the even set. If the sum in either 
case is odd, the move is changed in that set,, but not other- 
wise. If both sums are odd,, the move is changed in boths 
sets ; if both are even, the move is changed in neither of 
the sets. This operation may also be performed at once^ 
from the commencement of the game,, dawn to. any stage m 



or, Beginners' Sure Guide. 103 

it, w even for the whole game. The result will show at a 
glance how the move stands, after the last capture in the 
series under examination ; for if, when so recorded, from 
the commencement of the game, both sums are of the same 
affection ; that is, both odd or both even, the eventual dif- 
ference of the forces is either 0, 2, or some other even 
number ; if of contrary affections, the difference is either 
1, 3, or some other odd number; and, in whichever set the 
sum is odd, Black (the first player) has the move, and in 
whichever set the sum is even, White (the second player) 
has the move. Hence, in calculating from the beginning to 
any stage of the game, in which the pieces are known to be 
equal, the final state of the move may be thus ascertained : 
Rule — If either of the sums aforesaid is odd, Black (the first 
player) has the move ; if even, White (the second player) 
has the move. 

Note. — In these rules, by periods, commas, or colons, is 
meant all the periods, commas, etc., in the given series, 
without exception. The calculation of the state of the 
move in games published on the natural system, with the 
proper addenda of the three marks above mentioned, is a 
work requiring only seconds for its accomplishment. All 
the changes in the whole course of a game might be cast 
together, and the final balance, without fear of error, struck 
in an almost incredibly brief space of time ; so that it may 
be said, that in this particular department, we have arrived 
at the ne plus ultra of all possible improvements, The ra- 
pidity of the process greatly exceeds what can be attained 
on the board ; for, in this case, the whole is presented to 
the eye, as it were, simultaneously, and in a state for almost 
instant determination ; and the writer may here affirm, that 
he both began the improved system, and carried it through 
all its grades, to the last stage of perfection. His most 



104 The Elements of Draughts; 

grateful acknowledgments are cine to Mr, James Neiliora, 
Prince street, Glasgow, who has also rendered important 
services to the science of Draughts, and without whose 
active intervention and patronage, he is of opinion that he 
might have scribbled where he pleased, in dead earnest, the 
words of the Roman poet — 

M Sic vos non vobis '.—Sic vos non voMs !" 



DEMONSTRATION OF PAYNE'S RULE. 

In the preceding part of this Exposition, the truth of 
Payne's rule was implicitly acknowledged, or taken for 
granted : and it was assumed as the basis of the improved 
theory. It is desirable, however, to demonstrate the rule 
Algebraically for the satisfaction of the student. Let there 
be rn men on each side : consequently the whole pieces on 
the board will make m pairs (the men and pairs being then 
represented by the same quantity), and we may suppose the 
men composing each pair, to be moved toward each other 
until one of them be set or staled, at the distance of one 
square from the other, so that the sum of the finally inter- 
vening squares will be equal to m. Let the entire number 
of plays necessary to complete the fixing or staling of the 
pieces on one side, be represented by n. Now let m + n=s y 
a quantity representing the squares as defined or used by 
Payne. Hence n=s— m, and the party who makes the nth 
play has the move. But w, according to the equation, 
varies as s — m, or as s + m, that is, according to the differ- 
ence, or the sum of the men and squares. Now, when the 
rule is so framed as to suit the party that has to play first, 
it is evident, if the player m question has the first and last 



or, Beginners' Sure Guide. 105 

play, that he has the move, and that n is odd. But when 
n is odd, s— m, or s + m, is also odd, because these quantities 
are of the same affection as n. Hence, if s— m, or s + m, ie 
odd, s and m must be of contrary affections, so that if s is 
even, m must be odd, and if s is odd, m must be even. 



THE PLAYING TABLES 

OP ONE OF THE 

GLASGOW DRAUGHT CLUBS.* 

[From Anderson's Treatise.] 
TABLE FOR TEN MEMBERS. 



A 


B 





D 


E 


F 


G 


H 


I 


J 


1st Time. 


A 


C 


B 


D 


E 


G 


F 


J 


H 


■ 


2d " 


A 


D 


B 


F 





E 


G 


I 


H 


J 


8d " 


A 


E 


B 


G 


G 


I 


D 


J 


F 


H 


4th " 


A 


F 


B 


E 


C 


H 


D 


I 


G 


J 


5th " 


A 


G 


B 


J 


c 


F 


D 


H 


E 


I 


6th " 


A 


H 


B 


I 





G 


D 


F 


E 


J 


1th " 


A 


I 


B 


H 





A 


D 


E 


F 


G 


8th " 


A 


J 


B 


C 


D 


G 


E 


H 


F 


I 


9th " 



* This table was prepared by Messrs. Neilson and Paterson, and fa 
liere given for the convenience of clubs. 



io6 The Elements of "Draughts ;} 

Expl .ansstioiiv 

In these clubs lb 4 © members compete annualy for prizes* 
All the members are^ as nearly as possible y equalized, by 
being di Tided into 5 Several classes-, and each class handi* 
capped. The letters A B 0, etc,-, are drawn by lot, and 
each member is distinguished, during the course, by his own 
letter. The first horizontal line of the table shows the pairs 
who play together for the first time; the second line shows' 
for the second- time : and so* on to* the last. 



GENERAL RULES FOR FLAY, 

£Frtta Walker's HditSon of Sturges.} 

The following remarks contain so much real merit, thai 
we cannot resist the desire to lay them before the reader: 

"' Accustom yourself to play slowly at first, and, if a be- 
ginner, prefer playing with those who will agree to allow an 
unconditional time for the consideration of a difficult posi- 
tion, to those who rigidly exact the strict observance of the 
Jaw. Never touch a man without moving it, and do not 
permit the loss of a few games to ruffle your temper, but 
rather let continued defeat act as an incentive to greater 
efforts both of study and practice. Never play with a bet- 
ter player without offering to take such odds as he may 
choose to give. Finally, bear in mind what may well be 
-ermed the three golden rules to be observed in playing all 
^urnes of calculation : Firstly, to avoid all boasting and loud 
talking about your skill ; secondly, to lose with good temper ; 
■aid, thirdly, to win with silence and modesty." 



or, Beginners' Sure Guide. 107 

STANZAS, 

WRITTEN BY THE AUTHOR, 

And Inscribed on the back of a Draughtboard presented to a 

Belative* 

Dear Uncle, this board is an emblem of life, 

Consider attentively— you'll see the same ; 
Our lives are made up of continual strife, 

And he that plays sharpest must sure " win the game." 

What's plainer an emblem of life's varying path 

Thau^ this board, with its checks, formed in ample array ? 

The men, too, personify mortals at last, 
Continually changing, and gone in a day* 

In your journey through life, be ye careful and ready, 
To always have men at your call in distress, 

Who will quickly step forward ; be firm, and be steady, 
Then " push " for the " King row " — you well know the 
rest. 

So when life's u game is up," and the " King" of all terrors 
The last " man " shall "jump " and " sweep clear of the 
board," 

May we (at last safely delivered from errors), 

Leap slap over Satan! — my muse is now "floored!" 

* When the author was but a lad, he conceived the idea of making a 
Draught-board and presenting it to a valued uncle, who long since left 
him for that region where the expanded intellect soars far beyond the 
limits of the " magic squares," and revels in the never-ending combina* 
tions of the divine Creator. The board was constructed — and the 
above lines were written on a half sheet of M foolscap," and " wafered" 
upon the back. " 



lo8 The Elements of Draughts, 



CLOSING REMARKS. 

Having brought our labors to a close, we feel a sincere 
regret that we must bid you farewell ; and would fain dwell 
longer on a theme so gratifying to both author and reader. 
Every care has been exercised on our part to exclude errors 
(which are so apt to be incorporated in a work of this kind), 
and we confidently believe that none will be found. Trust- 
ing that we may meet as author and reader at no very 
distant day, we extend the parting hand. 



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Has a full page carefully drawn and elegantly engraved Picture of a 
perfectly set st.*gk, with full verbal descriptions; so that one who has 
never seen a Stage, can arrange the Scenery, Properties, Drop Curtain, Lights, 
and all the paraphernalia, as well as a Regular Stage Manager or Prompter. 

THIS BOOK. 

Will be a Guide to the Young Reader. 
Will be a Guide to the Youthful Amateur. 
Will be a Guide to the Young Stage Manager. 
Will be a Guide to the Young Prompter. 
Will be a Guide to the Young Lawyer. 
Will be a Guide to the Young Elocutionist* 
Will be a Guide to the Young Minister. 
Will be a Guide to the Young Debater. 
Will be a Guide to the Young Tragedian. 
Will be a Guide to the Young Comedian. 
Will be a Guide to the Young Teacher. 

IN SHORT, 

There is no subject connected with acting and elocution, too grand or too 
trivial, to escape comment and elucidation, in the pages of "DE WITT'S 
PERFECT ORATOR." 

This book contains over 290 pages, bound in boards, with a splendid illu- 
minated cover. Price 50 Cents. 

A handsome and durable edition of this work, bound in cloth, elegantly 
lettered in gilt. Price 75 Cents. 

E£F" Copies of the above Booh sent to any address in the United States or 
CanadaSy postage free, on receipt of price. Address. 

R. M. DE WITT, Publisher, 

No. 33 ROSE STREET, N. Y. 

{Between Duane and, Frankfort Streets.) 



GET TME ffEST! HM ff THE KEST ! 



FORTUNE-TELLING BY CARDS; 

OS, CARTOMANCY HADE EASY. 

ISeing- a, Pictorial and Practical Exp Sanation of tlie 
Marvel Sons Art of Prophetic Fortune-Telling-j-wItCEe- 
!>y 9 tlirougii ssM|)!euse off ordinary playing* carets, any 
person off coin anon intelligence, can ^lean, fc'uil, Per- 
ffect and Exact E&nowledge oft the Past, the Present, 
and tlae Future. As well as off every Secret in a Per- 
son's Mffe or "JMioussfhts. The whole Clearly and Fully 
set fforth, so tha\£ every one can read their own Fou 
tune and that of miners. To which is added a Treatise 
upon Cliirom-f»ncy , or, the Art off I>iviisati«;n through. 
Reading 1 the Huntsm Hand, and a ffull Description off 
the Sacred Book off Tnot, the Egyptian Oracle off 
Destiny. 

MY MiBAME CAMNBM,E I'.E NOKMAND. 
THE MODEliN SYBIL. 

Illustrated hj 1750 Engraving's. 



It' you buy a "Fortune-Teller "J' at all, buy the above. 

IT TEACHES YOU TRULY 
All about 

—the result of your Loving- " not 
Wisely, but too Well," 

— the Robbery of your Plate and 
Jewels, 

— the results of that Di voice Suit, 

— that splendid -Set of Furs that 
you hope for, 

—the sex of the expected "Li tile 
Treasure," 

— the Lady that rode in the cars 
with you, 

— the Strange Gentleman that was 
so attentive to you at the ball, 

— the Size of your Expected Family, 

— the Money you expect to be le'lt 
.to you, 

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filled, 

— your Title to that Estate, 

— your joys, sorrows, anticipations, 
rei rets, guizis, losses. In ,- hoi t, 
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— "A certain Bio de Female," 
—Agreeable Intelligence, 
— a Dark Complexion ed Woman, 
— a Widow Seeking to Marry again, 
— a certain Fast Female, and her 
designs, 

— a certain Improper Intrigue, 

— i certain Present of Jewelry, 
— a Strange Lady that you are to 

see, 
— a Declaration of Love from a Rich. 

Suitor, 
— Disappointment s, both in Love 

or Money Matters, 
— discord in the Family Circle, 
— Good and Bad News, 
—Journeys by Land or Water, 

— Marriage, 
—Men of Tact and Cunning, 

— Malignant Females, 

— Money to be Received, 

— Marriages to be broken off, or 

Offers refused, 
— the Sep;. ration between you and 

a Widow, 
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minated cover. Price 

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le'^-i i n rriH p ,'-. . 



V£W '" >,>'■'■* (>/ I'u aj ><• ■ L> >>;c 6-i.it Co a,n; aldrt 
Ca..adus 9 postage free, on receipt of price. Address. 



R. M. DE WITT, Publisher, 

No. 33 ROSE STREET, N. Y. 

(Between Duane and Frankfort Streets.) 



Get the Best ! Q-et the Best ! 



MPOLEOS'S 



COMPLETE DREAM BOG 



coNT^fK" r'LU,ru^ lv:, acc 



., C^PLAixA 



»'?1iirLlN(l ]b / 



ii* All 3, VI.ll.-L J, L- 

i L c .t*M» U consulted I;y 



"The only 'i'me «*»* i I&.el2 a.S>Z 
Wrc;it Ca»-^icciai) i»p«n ihal mc&i t^ct'ui and Ularv 
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gether with ail Anccdotical Account off IEe« 
mark able Visions and Apparitions, and a 
General Dictionary off the Signification of 
Dreams and Reveries. Arranged and 
explained in the most Familiar and 
Intelligible Manner, for the In- 
struction off ordinary readers. 
BY MADAME CAMILLE E.JE NORLAND, 
The Modern Sibyl, and authoress of "Fortune- Telling by Cards," etc. 



t:ie 



CONTENTS. 



PAET I. 



Preliminary Notice, 

Second Sight : or, the Correct In- 
terpretation of Dreams. 

Remarkable Dreams, Visions, Or- 
acles, etc. 

General Explanation of Dreams, 
Yisions, etc. 

PART II. 



Truthful Explanation of Dreams, 
Visions, Omens and Forewarn- 
ing^, placed in alphabetical or- 
der, and interpreted in accord- 
ance with the teachings of the 
wisest authorities, together with 
designation of numbers fortunate 
for human happiness, bearing re- 
lation to dreams and visions be- 
neath every possible aspect. 

What Napoleon was to Generals this work is to Bream 
Books, away ahead and above the&n all. No other 
Dream Book contains a tithe of its contents. AB1 clear- 
ly and plainly shown, so that the Beast learned can 
understand both the words and the pictures. 

This book contains over 200 pages, bound in boards, with a splendid 
illuminated cover. Price 50 Cents. 

A handsome and durable edition of this work, bound in cloth, tl ^antly 
lettered in gilt. Price 75 Cents. 



PART ni. 

Somnambulism, Second Sight, 
Visions. — Authenticated in- 
stances of wonders while in 
sleep, and of Prevoyance. 
A Clairvoyant Dream. 
Swedenborg's Waking Vision. 
Seeing with the Eyes closed. 
Natural Second Sight. 
Zschokke's " Inward Sight,'* 
Prevoyant Vision of John Knox. 
The Ropemaker of Nuremberg. 
Dr. Petetin's Patient. 
The Estatica of Bologna. 
Alexis the Seer. 
The Sexton at Sudbaxton. 
A Protective Apparition. 
A Pastor's Vision. 
Buckingham's Murder. 



B3F" Copies of the above Book sent to any address in the United Slops or Can' 
ada,free of postage, on receipt of retail price. Send Cash Orders Jo 

E. M. DE WITT, 33 Rose St., New York, 

Between Duane and Frankfort Streets. 



OET THE BEST! GET THE BEST!! 

" Most perfect book on the horse ever written." 

DE WITT'S COMPLETE 

AMERICAN FARRIER 

AND 

HORSE DOCTOR, 

An American Book for American Horsemen, 

With Copious Notes from the best English and American 

authorities, showing- plainly bow to Breed, Hear, 

Buy, Sell, Cure, Shoe and Keep that most 

Useful and Valuable Animal, 

the Morse. 

By COL. CKHXS. FORREST. 



CONTENTS. 



CHAPTER FIRST.— The Horse in America. 
CHAPTER SECOND.— How to Buy a Horse. 
CHAPTER THIRD.— Looking at a Horse. 
CHAPTER FOURTH. -More About Buying a Hobsi. 
CHAPTER FIFTH. — Ext fen al Signs of Disease. 
CHAPTER SIXTH.— Trying Your Purchase. 
CHAPTER SEVENTH.— Some General Advice. 
CHAPTER EIGHTH —Stables and Food. 
CHAPTER NINTH.— Stabling and Grooming. 
CHAPTER TENTH.— Pasture Hints. 
CHAPTER ELEVENTH.— The Horse's Foot. 
CHAPTER TWELFTH.— Hints on Harness. 
CHAPTER THIRTEENTH. —Stable Tricks and Vices. 
CHAPTER FOURTEENTH. —Out of Door Tricks and VlCBS. 
CHAPTER FIFTEENTH.— Diseases of Horses. 
CHAPTER SIXTEENTH.— Diseases of Horses. 
CHAPTER SEVENTEENTH.-Diseases of the Horse. 
CHAPTER EIGHTEENTH.— Diseases of the Horse. 
CHAPTER NINETEENTH— Diseases of Horses. 
CHAPTER TWENTIETH -Miscellaneous Diskases. 
CHAPTER TWENTY-FIRST.— Diseases of the Ear, Eye, etc. 
CHAPTER TWENTY-SECOND —Fever— Typhoid Fever. 
CHAPTER TWENTY-THIRD— Breeding. 
CHAPTER TWENTY-FOURTH.— Training for "Work. 

Illustrated with many very superior Pictures of the Horse in Health and 
Dieease 

This book contains over 200 pages, bound in boards, with a splendid ilium* 
inated cover. Price - ■ - ■ - " . " «^ Cents. 

A handsome and durable edition of this work, bound in cloth, elegantly 
lettered in gilt. Price ■■■■■■ To Cents. 

IJ^* Copies of the above Boole sent to any address in the United States or Cana- 
das, free of postage, on receipt of retail price. 

Send Cash Orders to R. M. DE WITT, 

No. 33 HOSE STREET, N. Y. 



OET THE BEST! GET THE BEST!! 



The aim of the author of "De Witt's Connecticut Cook Book " lias 
been to strip the art of cooking- or all useless preparations, and all the un- 
meaning' jargon of the cuisine,; and to write in a plain, common-sense way, 
giving only directions that have been tried and not found wanting. Every 
mode of Cooking and Preserving described in these pages are the results of 
actual personal experience ; and have never failed to produce the best tasting 
as well as the best looking dishes that can be placed on the table. Let any 
housewife follow the directions, and our word for it : Good digestion will 
surely " wait on appetite." 



DE WITT'S 



Connecticut Cooe Book, 

AND HOUSEKEEPER'S ASSISTANT. 

Containing Plain and Economic Styles of Dressing and Cooking every kind 
of Fish, Flesh, Fowl and Vegetable, in the most Healthful and Inviting 
Manner. With full Directions for Laying and Decorating the Table ; 
Carving the Meat, and Serving the Vegetables and the Desert. To which 
is added, a large number of Tried Receipts for Preserving, Canning, and 
Curing all sorts of Vegetables and Fruits, so as to Retain their Original 
Flavor and Appearance. 

By MRS. N. ORR. 



ABSTRACT OP CONTENTS. 



Cooking Implements. 

SOTTPS. 

Fish. 

Shell-Fish. 

Sauces. 

Meats. 

Roasting and Baking. 

Broiling and Frying. 

Stewing. 

Miscellaneous Dishes of Meat. 

Pickle for Beef or Pork. 

Vegetables. 

Pickles. 

Approximate Measures. 

Bread, Biscuit, Rolls, etc. 

Yeast. * 

This Book contains over 200 pages, bound in boards, with a splendid 
illuminated cover. Price - - - - - - 50 Cents. 

A handsome and durable edition of this work, bound in cloth, elegantly 
lettered in gilt. Price ------- 75 Cents. 

IST' Copies of the above Book sent to any address in the United States or 
CanadaSf free of postage, on receipt of retail price. 

Send Cash Orders to R. M. DE WITT, 

33 ROSE STREET, N. Y. 



Pies. 

Puddings. 

Cakes. 

Custards, Creams, etc. 

Jelliks.— 18 Recipes. ' 

Preserving Fruits. 

Coffee, Tea, etc. 

beverage's. 

Pood and Drink for Invalids. 

Butter and Cheese. 

Miscella neous Hecipes.— More than 

100, very valuable. 
Useful Hints. 
Useful Sanitary Rules. 
Carving. 



DE WITT'S 
HALF HUE MUSIC. 

FOR VOI'E AND PIANO. 

JDE WITT'S HALF DIME MU.IC wLl contain the most choice and. exqui- 
site pieced, by the most able, giited and popular Composers. This se- 
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and pathetic to the light and humorous. The repertoires of the most 
talented English and Continental, equally with those of our own native 
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"grave to gay, from lively to severe." 

now ready: 



Pretty Polly, if you Love me, do 

say Yes. 
The Fisherman's Daughter that 

Lives o'er the Water. 
The Lover's Letter-Box. 
I'll Tell Your Wife. 
Thy Voice is Near. 
Blue-Eyed Violets. 
Up in a Balloon. 
The Maiden and Her Linnet. 
Captain Jinks. 
Little Blue Butterfly, 
Champagne Charlie. 
Thady O'Flynn. 
Tassels on the Boots. 
The Soft Dew is Sleeping. 
Tommy Dodd. 
When the Roses Blow. 
That's the Style for Me. 
Pretty Little Flora 
Bother the Men. 
Beautiful Bells. 
The Mother's Dream. 
I wish I was a Fish; or, Sweet 

Polly Primrose. 
My Spirit Star. 
Put it down to Me. 
Little Maggie May. 
The Vagabond. 
A Loving Daughter's Heart. 
Oh, Wouldn't You like to Know. 
The Paradise of Love. 
Where is My Nancy. 
My Heart is o'er the Sea; or, 

Maggie's Secret. 
Maggie's Welcome. 
Immenseikoff. 
The Way of the World. 
Breaming of Nellie. 
It's all the Same to Sam. 



Five O'clock in the Morning. 

" Good-bye, John ; " or, Chicka- 
biddy. 

She Came and Vanished like a 
Dream. 

The Beau of Saratoga. 

Meet Me in the Lane; 

Not for Joseph. 

Tapping at the Garden Gate. 

California Gold ; or, She was such 
a Nice Young Girl. 

Sleeping on Guard ; or, Katie's 
Love-Letter. 

It's Better to Laugh than to Cry, 

The Summer Dew. 

Susan, Susan, Pity my Confusion. 

Oh, My Lost Love. 

Walking in the Park. 

Far Away. 

The Bell Goes, a-ringing for Sai- 
rah. 

Call Her Back and Kiss Her. 

On, Boys, on, the Course is always 
Clear. 

Jess MacFarlane. 

The Flying Trapeze, 

Yes, I'll meet Thee, Dearest. 

It's Nice to be a Father. 

Hattie Bell. 

Act on the Square, Boys. 

Whisper, " Yes," or " No," Love. 

Her Bright Smile Haunts me Still. 

Oh, Cast that Shadow from thy 

Brow. 

Love Not. 

i~he Wore a Wreath of Roses. 

She Danced like a Fairy. 

I Never Go East of Madison 

Square. 

The Lancashire Lass. 



DM WITTS HALF DIME MUSTCcan always be obtained at all the News 
Depots and Music and Book Stores throughout the United States and 
Oanadas. Remember, each No. contains a complete piece of Music, 
elegantly printed on fine Music paper, and are sold for only 

FIVE CENTS. 



|gp" Copies of any of the above Works will be sent, free of postage, on receipt of 
the retail prioe. 

to E. M. DE WITT, No. S3 Rose St., N. Y. 



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In this free oountry, where every mm that does his duty as a citizen may 
be at any moment called upon to p-resW ; over, or assist in, the deliberations 
and debates of Public Meetings— i , behooves all to h i thoroughly " posted" 
as to th? ways and means of properly 'con-ducting Bach assemblages. '11ns 
book will be t'oan i to contain '" •■■•■ «t and praeMc.i digest of the many vol- 
umes devoted to this important matter; it is the honey extracted from the 
hoarded stores of the most eminent writers. A careful study of its 1 norousrh- 
ly prepared pages wdl rind either Chairman or S-peaker »' armed at ad points" 
that can possibly arise. ^ 

WEBSTEE'S 

CHAIRMAN'S MANUAL, 

AND SPEAKER'S GUIDE. 

Sliowinsf plainly nn£ clearly Hi»w to Preside Over sit\A 
Conduct Every Kind of Public Meeting*. With full Ex- 
positions of tue Manner of Procedure in tlie American 
Oonsrress. tlie British. Parliament, the legislature of 
New ¥ork, tlie Crand L.odge of F. and A. Masons, etc. 

TO WHICH IS ADDED 

Numerous Precedents from tlie best authorities. A1s*», 
tSie Full Text of tbe Constitution of tbe United States, 
with all its Various Amendments. 

By the Author of " Webster*s Practical Letter Writer," lt Webster's Reciter," etc. 



ABSTRACT OF CONTENTS : 

Preface "What is Public Easiness? Rules of Order Motions how 

made Oh lirmin — his requisites ; necessity of his impartiality; dignity re- 
quisite The Meeting 1 Points of Order Debate Speakers — -Ar- 
ranging for a Meeting The " Call " A New Club Alma Mater 

Boys in Blue -Committee of Arrangements Caucus and caucusing 

Conventions Cown M ietings Ward Meetin gs Committees Reso- 
lutions and Motions Amsadmmts Rules Divisions Yeas and 

Nays A Quorum 3pe ikiag Points of Order and Appeals De- 
bate Questions Privileged Questions Committee of the Whole 

Call of the House — -Adjournment By-Laws of Citizens Central Com- 

mitte Forms and Formulas Farmer's Club Insurance Club 

ocial Ciub British Parliament Congress of United States Business 

ftulesof U. S Senate Basin -ss Rules of U. S. House of Representatives 

Joint Business Rules of the two H mses Rules of the Senate of New York 

Relating to Order Rules and Order of the New York Assembly Joint 

Rules of the Senate aid Assembly Routine of a Business Meeting 

Masonic Rules of Order Parliamentary Authorities Parliamentary 

Summary ) mstitutioa of the United States with all the Amendments. 

This Book OTV-irn ovir 200 Pa»3i. brail m ImrV? vr\f\ i «g\ n.M\ II- 
tuminatad Cover Pi i c M) Cen*a 

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W>W* ' • ' • ■•■■■; :.> any address in the U- tiled Stai-s 

(Jan i. /us .ii. i ti re.xinL of retail price. 
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R. M 32 WITT, PiMWier, 33 R«m Street 

(Between Dunne and Frankfort Street*.) 



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WEBSTEE'S 

BUSINESS MAN; 

OR, 

Counting-House Correspondent, 

Containing Plain, Practical Directions for Carrying 

on every Kind of Commercial and 

Banking Business. 

Including- Mercantile Letters oh very Conceivable Sub- 
ject, Laws and Usages of Banking* and Brokerage, 
Forms and Official Papers of S Slipping, Insurance, 
etc., etc. Also containing- an Extensive and very 
^Useful Glossary of Words and Piirases used in Com- 
mercial and Banking Circles, Together with a very 
Full Exposition of the Specie and Paper Currency of 
the Whole World, and their Intrinsic and Nominal 
Value* 

BY THE AUTHOR OF 

"webster's chaxbman's manual," " Webster's reciter," Webster's prac- 
tical LETTER-WRITER," ETC., ETC. 

WEBSTEK'S BUSINESS MAN treats upon every topic incidental 
to the experience of a business man. While its main design is to instruct the 
reader in the details of commercial correspondence, the subject matter of these 
specimen letters embrace all points of interest to the general trader. 

Prominence has been given to banking, and the relationship between bank- 
ers and their dealers, inasmuch as hundreds of thousands of persons main- 
taining accounts of deposit and discount, are in ignorance of the duties of 
bankers and of the the rights and privileges of the dealer. 

To the body of the work has been appended :— 

1. A Glossary of the Technicalities of Commerce, or terms employed by mer- 
cantile men at home and abroad, as a peculiar and distinctive, language not 
familiar to the general reader. 

2. A table of moneys in which mercantile accounts are kept in various 
foreign countries, information all important to dealers in imported merchan- 
dize; and 

3. Several forms of important documents not to be found in a majority of 
works upon book-keeping. 

This work has been submitted to the perusal of several of our most eminent 
bankers and traders, and has invariably met with their approval. 

This Book contains over 200 pages, bound in boards, with a splendid illum- 
inated cover. Price 50 Cents, 

A handsome and durable edition of this work, bound in cloth, elegantly 
lettered in gilt. Price 75 Cents. 

8KF* Copies of the above Book sent to any address, post-paid, on receipt of retail 
price, 

ROBERT M. BE WITT, Publisher, 

33 Rose Street, [Between Duane and Frankfort Sis., N T.) 



